•TAT- 


•AMT 

8  O  6" f 


The   Standard   Operaglass 


The  Standard  Operaglass 

Detailed  Plots  of  Two  Hundred 
and  Thirty-five  Celebrated  Operas 

With  Critical   and  Biographical  Remarks,  Dates,  Etc. 

BY 
CHARLES    ANNESLEY 


WITH    A    PRELUDE    BY 

J'AMES     H  U  N  E  K  E  R 


NEW    EDITION,   REVISED 
AND  BROUGHT  UP  TO  DATE 


NEW  YORK 

BRENTANO'S 

1920 


Copyright,  1899,  1904,  1910,  1920,  by 

BRENTANO'S 


Printed   in    the    U.S.A. 


SANTA  BARBARA  COLLEGE  LIBRARY 

INDEX  OF  THE  OPERAS 


OPERAS 


Abu  Hassan 

Africaixe 

A'iDA 

Alessandro  Stradella 
L'Amore  Dei  Tre  Re     .      .      . 
L'Amore   Medico     .... 

Andre  Chenier 

Aphrodite 

Apothecary    

Ariane  et  Barbe  Bleue   . 

Armida 

Armorer  (Wapfenschmied)  . 
L'Attaque  du  Moulin 

L'Aube   Rouge 

Ballo  in  Maschera 
Ballo  in  Maschera 
Barber  of  Bagdad   .... 
Barbiere  di  Seviglia     . 
Bartered    Bride      .... 
Benvenuto    Cellini 

Boheme 

Bohemian  Girl 

Boris  Godounov  .... 
By  Order  of  His  Highness  . 
Carlo  Broschi  (Teufel's  An- 

theil) 

Carmen 

Cavalier  of  the  Rose  . 
Cavalleria  Rusticana  . 

Cendrillon 

Le   Chemineau 

Chimes  of  Normandy   . 

Cid 

Cleopatra       

Coppelia    

cosi  fan  tutte 

Cricket  on  the  Hearth     . 
Crispino  e  la  Comare  .     .     . 


COMPOSERS 

FOL. 

Weber 

.       9 

Meyerbeer     . 
Verdi 

.  12 
.     lb 

Flotow     . 

.      19 

Montemezzi  . 

.   590 

Wolf-Ferrari 

.   598 

Giordano 

.   594 

Erlanger 

Haydn 

Dukas 

.  600 
.  21 
.   605 

Gluck       .      . 

.     25 

Lortzing 
Bruneau 

.  27 
.   610 

Erlanger 
Auber 

.  613 
.     29 

Verdi 

.     32 

Cornelius 

.      37 

Rossini     . 

.     42 

Smetana 

.   399 

Berlioz     . 

.     45 

Puccini    . 

.   446 

Balfe       .      . 

.   618 

Moussorgsky 
Reinecke 

.  614 
.      51 

Auber 

.     54 

Bizet 

.     57 

Richard    Strauss  623 

Maseagni 
Massenet 

.   627 

Leroux     . 

.   629 

Planquette    . 
Massenet 

.  632 
.  449 

Leroux     . 

.   635 

Delibes    . 

.   451 

Mozart     . 

.     63 

Goldinark 

.      66 

Ricci 

.   637 

libr;. 

■  TATE   TEACHER* 
SANTA    BARBARA.    Ca...  ilA 


.$0S$ 


Index  of  the  Operas 


OPERAS  COMPOSERS  FOL. 

Cyrano  de  Bergerac    .      .      .  Damrosch 
Czar  and  Zimmermann      .      .  Lortzing 

Dalila Saint-Saens 

Dame  Blanche Boieldieu 

Damnation  op  Faust    .      .      .   Berlioz    . 

Dejanire Saint-Saens 

Demonio Kubinstein 

Djamileh Bizet 

La  Dolores Breton     . 

Domino  Noir Auber 

Le  Donne  Curiose   ....   Wolf -Ferrari 

Don    Carlos Verdi 

Don  Juan Mozart    . 

Don    Pasquale Donizetti 

Don  Quichotte Massenet 

Donna  Diana Beznicek 

Dragons  de  Villars     .     .     .  Maillart 
Dusk  of  the  Gods  ....  Wagner  . 

Electra Richard    Strauss  575 

Elisir  D  'Amore       ....  Donizetti 
L 'Enfant  Prodigue       .      .      .   Debussy  . 

Ernani Verdi 

L'Etoile  du  Kord   ....    Meyerbeer 

Euryanthe Weber     . 

Evangelimann Kienzl     . 

Fairyland Parker     . 

Falstaff Verdi 

Faust Gounod    . 

Favorita Donizetti 

La   Fete  Chez   Therese    .     .  Hahn 

Fidelio Beethoven 

Figlia  del  Beggimento       .      .  Donizetti  . 
La  Fille  de  Madame  Angot  .   Lecocq     . 
Fledermaus,    Die     ....  Johann     Strauss  48 
Flying  Dutchman  ....   Wagner     . 

Folkungs Kretschmer 

Fra   Diavolo Auber 

Francesca  da  Rimini   .      .      .   Zandonai 

Frauenlob Becker     . 

Freischutz Weber 

Friend  Fritz Mascagni 

Genoveva Schumann 

vi 


638 
70 

445 
73 

457 

642 
77 
79 

646 
83 

648 
85 
88 
91 

652 
95 

101 

107 


459 
654 
460 
655 
112 
115 
656 
120 
262 
463 
660 
123 
127 
661 


130 
134 
138 
665 
141 
146 
150 
154 


Index  of  the  Operas 


OPERAS  COMPOSERS 

Germania Francketti 

Gioconda,  la Ponchielli 

Girl  of  the  Golden  West       .   Puccini    . 

Les    Girondins Le    Borne 

Golden   Cross Briill 

Gotterdaemmerung        .     .      .  Wagner 
Grenadiers,  Two     ....  Lortzing 

Griselidis Massenet 

Gwendoline Chabrier 

La,  Habanera Laparra 

vHamlet Thomas  . 

Hansel  and  Gretel     .      .      .   Humperdinck 

Hans    Heiling Marschner     . 

Henry  VIII Saint-Saens 

Henry  the  Lion     ....   Kretschmer 

Herodias Massenet 

Herrat Draeseke 

Hochzeitsmorgen     ....    Kaskel    . 

Huguenots Meyerbeer 

Idle    Hans Ritter 

Idomeneus Mozart    . 

Ingrid Grammann 

Iphigenia  in  Aulis       .      .      .   Gliiek 
Iphigenia  in   Tauris     .      .      .   Gliiek 

Iris Mascagni 

Irrlicht     (Will-0 '-the- Wisp)    Grammann 

.  Jean  de  Paris Boieldieu 

Jessonda         Spohr 

Jewels  op  the  Madonna  .      .   Wolf-Ferrari 
Jongleur  de  Notre  Dame        .   Massenet 
Joseph   in   Egypt    ....   Mehul 

La  Jota Laparra  . 

JurvE Halevy    . 

Junker  Heinz  (Sir  Harry)    .   Perfall    . 
King  Against  his  Will   .      .   Chabrier    . 

Konigskinder Humperdinck 

Kuhreigen Kienzl 

Lakme Delibes    . 

Life  for  the  Tsar,  A  .   "  .      .  Glinka 

Lobetanz .      .    Thuille    . 

Lohengrin Wagner  . 

Loreley Catalani 

vii 


F0L. 

669 

498 

671 

675 

157 

107 

160 

677 

680 

681 

164 

167 

172 

682 

176 

530 

180 

184 

187 

192 

195 

199 

203 

206 

685 

208 

211 

214 

,   688 

547 

,   216 

,  692 

,    218 

.   221 

226 

.   693 

.   696 

.   465 

.   697 

.   700 

.    230 

.    704 


Index  of  the  Operas 


OPERAS                                 COMPOSERS  FOL. 

Lorle .   Forster    .  .  ..  235 

Louise Charpentier  .   539 

Love's   Battle Meyer-Helmund    240 

Lucia  di  Lammermoor  .      .      .   Donizetti  .  .  243 

Lucrezia    Borgia      ....   Donizetti  .  .   245 

Maccabees Rubinstein  .  .   248 

Madame    Butterfly      .      .      .   Puccini    .  .  .  553 

Madame    Chrysantheme    .      .   Messager  .  .   706 

Madame  Sans-Gene       .      .      .    Giordano  .  .  708 

Madeleine Herbert  .  .  .  712 

Magic  Flute Mozart  .  .  252 

Maidens   of    Schilda    .      .      .   Forster  .  .   256 

Manon Massenet  .  .  467 

Manon  Lescaut        ....   Puccini      .  .  513 

Manru Paderewski  .  470 

Marga Pittrich   .  .  .   261 

Marguerite    (or  Faust)    .      .   Gounod    .  .  .  262 

Maritana Wallace  .  .  .   714 

Martha Flotow    .  .  .   265 

Mason Auber      .  .  .   279 

Master-Singers     of     Nurem- 
berg     Wagner  .  .   269 

Master-Thief Lindner  .  .  .   274 

Mefistofele Boito       .  .  .  473 

Melusine Grammann  .  .281 

Merlin Goldmark  .  .   287 

Merry  Wives  of  Windsor       .   Nicolai    .  .  .  290 

Mignon Thomas   .  .  .   293 

Mikado Sullivan  .  .  717 

Le  Miracle Hue   ....  720 

Mireille Gounod    .  .  .   723 

Miser   Knight Rakhmaninoff  .   724 

Mona Parker    .  .  .726 

Monna  Vanna Fevrier    .  .  .   729 

Muette  de  Portici  ....   Auber      .  .  .  296 
Nachtlager      von      Granada 

(Night's  Camp)     .            .    Rreutzer  .  .  299 

Natoma Herbert  .  .   735 

La  Navarraise Massenet  .  .   734 

Niebelung's  Ring:    I.   Rhine- 
gold    Wagner   .  .  .   369 

viii 


Index  of  the  Operas 


OPEEAS  COMPOSERS 

Niebelung's   King:    II.   Wal- 

kyrie Wagner  . 

Niebelung's  Ring:   III.  Sieg- 
fried         Wagner  . 

Niebelung's  Ring:   IV.  Dusk 

of  the  Gods      ....  Wagner   . 

Noel Erlanger 

Norma Bellini     . 

Nozze  di  Figaro       ....   Mozart    . 
Nuremberg  Doll     ....  Adam 

Oberon Weber 

Odysseus 's   Return      .     .     .  Bungert  . 

L'Oracolo Leoni 

Obfeo  e  Eurydice   ....   Gliick 

UOthello Verdi 

Pagliacci Leoncavallo 

Paoletta Floridia  . 

Parsifal Wagner  . 

Les  Pecheurs  de  Perles  .     .  Bizet 
Pelleas  and  Melisande    .      .  Debussy  . 

Petrouchka Stravinsky 

Philemon  and  Baucis       .     .   Gounod    . 

Pintos Weber    . 

Pipe  of  Desire Converse 

Piper  of  Hameln    ....   Nessler    . 
Poacher   (Wildschutz)      .      .  Lortzing 
Postilion  of  Longjumeau       .   Adam 

Preciosa Weber 

Prince  Igor Borodin,    Korsa- 
koff  &  Glazou- 
noff 
La  Princesse  D'Auberge       .  Blocks     . 

Prophete Meyerbeer 

Puritani Bellini     . 

Queen  of  Sheba       ....   Goldmark 

Quo   Vadis Nougues 

La   Reginetta  Delle  Rose     .  Leoncavallo 
La  Reine  Fiametta       .      .      .    Leroux    . 

Rhinegold Wagner  . 

Rienzi Wagner  . 

Rigoletto Verdi 

Robert  le  Diable    ....   Meyerbeer 

ix 


POL. 

.  440 

.  392 

.  107 

.  739 

.  301 

.  304 

.  308 

.  312 

.  316 

.  741 

.  326 

.  328 

.  332 

.  744 

.  337 

.  745 

.  566 

.  750 

.  341 

..  344 

.  583 

.  348 

.  352 

.  355 

.  358 


751 
755 
361 
475 
365 
757 
759 
761 
369 
373 
376 
378 


Index  of  the  Operas 


OPERAS 


COMPOSERS 


Roi  l'a  dit Delibes    . 

Romeo,  e  Giulietta       .      .      .   Gounod    . 
Russlan    and    Ludmilla    .      .  Glinka 

Sacrifice Converse 

Salome Richard    Strauss  560 


Sappho Massenet 

Secret  of  Susanne       .     .     .   Wolf-Ferrari 

Semiramide Rossini 

Seraglio Mozart 

Siberia Giordano 

Siegfried        Wagner 

Sigurd Reyer 

Silvana     .  Weber 

Sold    Bride Smetana 

Sonnambula         Bellini 

Suor  Angelica Puccini 

Taming  of  the  Shrew       .     .  Goetz 
Tales   of   Hoffmann    .      .     .  Offenbach 

Tannhaeuser Wagner  . 

Tell Rossini 

Templar  and  the  Jewess       .   Marschner 

Thais Massenet 

Tiefland D 'Albert 

Tosca Puccini    . 

Traviata Verdi 

Tristan  and  Isolda      .     .     .  Wagner  . 

Trovatore Verdi 

Les  Troyens Berlioz    . 

Trumpeter  of  Saekkingen     .   Nessler    . 

Undine Lortzing 

Urvasi Kienzl      . 

Vampire Marschner 

Versiegelt Blech 

Le  Vieil  Aigle Gunsbourg 

La   Vivandiere Godard    . 

Walkyrie Wagner   . 

Werther Massenet 

William    Tell Rossini    . 

Zampa Herold     . 

Zingari Leoncavallo 


FOL. 
383 
388 
762 
766 


505 
769 
477 
390 
771 
392 
774 
395 
399 
404 
777 
406 
490 
408 
412 
415 
520 
779 
479 
417 
420 
426 
782 
423 
429 
432 
436 
784 
786 
787 
440 
789 
412 
444 
790 


INDEX  OF  THE  COMPOSERS 

roL. 

Adam,  Adolphe  Charles,  b.  July  24,  1803, 
Paris;    d.   May  3,  1856,  Paris. 

1.  Nuremberg    Doll 308 

2.  Postilion    of   Longjumeau 355 

D 'Albert,  Eugene,  b.  April  10,  1864,  Glasgow. 

Tiefland 779 

Auber,  Daniel  Francois  Esprit,  b.  Jan.  29, 
1784,  Caen  (Normandy)  ;  d.  May  12, 
1871,   Paris. 

1.  Ballo  in  Maschera 29 

2.  Carlo    Broschi    (Teufel's   Antheil)       .      .     54 

3.  Domino    Noir 83 

4.  Fra  Diavolo 138 

5.  Mason         279 

6.  Muette  de  Portici 296 

Balfe,  M.  W.,  b.  May  15,  1808,  Dublin;  d.  Oct. 

20,  1870,  England. 

Bohemian    Girl  618 

Becker,  Reinhold,  b.  1842,  Adorf  i.  V.  (Sax- 
ony). 

Frauenlob 141 

Beethoven,  Ludwig  van,  b.  Dee.  16,  1770,  Bonn; 
d.  March  26,  1827,  Vienna. 

Fidelio 123 

Bellini,  Vincenzo,  b.  Nov.  3.  1802,  Catania; 
d.  Sept.  23,  1835,  Puteaux,  n.  Paris. 

1.  Norma         301 

2.  T   Puritani 475 

3.  Sonnambula 404 

Berlioz,    Hector,   b.    Dec.    11,    1803,    Cote    St. 

Andr6  (Dep.  Isere) ;  d.  March  9,  1869, 
Paris. 

1.  Bonvenuto  Cellini 45 

2.  Damnation    of    Faust 457 

3.  Les  Troyens 782 

XI 


Index  of  the  Composers 

FOL. 

Bizet,  Georges,  b.  Oct.  25,  1838,  Paris;  d.  June 
3,  1875,  Paris. 

1.  Carmen 57 

2.  Djamileh  79 

3.  Les   Pecheurs    de   Perles 745 

Blech,  Leo,  b.  April  22,  1871,  Aachen. 

Versiegelt 784 

Blockx,    Jan.,    b.    Jan.    25,    1851,    Antwerp;    d. 
May  26,  1912,  Antwerp. 

La  Princesse  d'Auberge 755 

Boieldieu,  Francois  Adrien,  b.  Dec.  16,  1775, 
Eouen;   d.  Oct.  8,  1834,  Jarcy. 

1.  Dame  Blanche 73 

2.  Jean    de   Paris         211 

Boito,  Arrigo,  b.  Feb.  24,  1842,  Padua,  Italy. 

Mefistofele 473 

Borodin,   Korsakoff  and   Glazounoff. 

Prince   Igov 751 

Breton,  Thomas,  b.  Dec.   29,  1850,  Salamanca. 

La  Dolores 646 

LeBorne,  Yves,  b.  March  10,  1862,  Paris. 

Les    Girondins 675 

Brull,  Ignaz,  b.  Nov.  7,  1846;  Prosnitz  (Mo- 
ravia. 

Golden  Cross 158 

Bruneau,  Alfred,  b.  March  3,  1857,  Paris. 

L'Attaque  du  Moulin 610 

Bungert,  August,  b.  March  14,  1846,  Miihl- 
heim    (Euhr). 

Odysseus 's    Eeturn  316 

Catalani,  Alfredo,  b.  July  19,  1854,  Lucca;  d. 
Aug.  7,  1893,  Milan. 

Loreley 704 

Chabrier,  Emanuel,  b.  Jan.  18,  1841,  Ambert 
(Puy  de  D6me);  d.  Sept.  13,  1894, 
Paris. 

1.  A  King  Against  His  Will        .      .      .      .226 

2.  Gwendoline 680 

Charpentier,  Gustave,  b.  June  25,  1860,  Dieuze, 

Lorraine. 

Louise 539 

Converse,  Frederick  S. 

1.  The  Pipe  of   Desire 583 

2.  Sacrifice 766 

xii 


Index  of  the  Composers 

FOL. 

Cornelius,  Peter,  b.  Dec.  24,  1824,  Mayence; 
d.  Oct.  24,  1874,  Mayence. 

Barber    of   Bagdad         37 

Damrosch,  Walter,  b.  Jan.  30,  1862,  Breslau. 

Cyrano  de  Bergerac 638 

Debussy,  Claude,  b.  1862,  Paris. 

1.  PellSas  and  Melisande 56&, 

2.  L 'Enfant  Prodigue 654 

Delibes,  Leo,  b.  Feb.  21,  1836,  St.  Germain  du 

Val  (Sarthe) ;  d.  Jan.  16,  1891,  Paris. 

1.  Coppelia 451 

2.  Lakme         465 

3.  Le  Roi  l'a  dit 383 

Donizetti,  Gaetano,  b.  Nov.  29,  1797,  Ber- 
gamo; d.  April  8,  1848,  Bergamo. 

1.  Don  Pasquale 91 

2.  L'Elisir  D'Amore 459 

3.  La    Favorita 463 

4.  Figlia   del    Reggimento 127 

5.  Lucia  di  Lammermoor  243 

6.  Lucrezia    Borgia         245 

Draeseke,  Felix,  b.  Oct.   7,  1835,  Coburg. 

Herrat 180 

Dukas,  Paul,  b.  Oct.   1,  1865,  Paris. 

Ariane  et  Barbe  Bleue 605 

Erlanger,  Camillo,  b.  May  25,  1863,  Paris; 
d.,   1919,  Paris. 

1.  Aphrodite 600 

2.  L'Aube  Eouge      .      .      .      .      .      .      .      .   613 

3.  Noel 739 

Fevrier,  Henri,  b.  Oct.  2,  1875,  Paris. 

Monna  Vanna 729 

Flotow,  Friedrich  von,  b.  April  27,  1812,  Ren- 
tendorf  (Mecklenburg);  d.  Jan.  24, 
1883,  Darmstadt. 

1.  Alessandro  Stradella, 19 

2.  Martha  265 

Floridia,  Pietro,  b.  May  5,  1860,  Sicily. 

Paoletta 744 

Forster,  Alban,  b.  Oct.  23,  1849,  Reichenbach 
(Saxony). 

1.  Lorle 235 

2.  Maidens  of   Schilda 256 

xiii 


Index  of  the  Composers 

FOL. 

Franchetti,  Baron  Alberto,  b.  Sept.  18,  1860, 
Turin. 

Germania         .  669 

Giordano,  Umberto,  b.  Aug.  27,  1867,  Foggia. 

1.  Andre  Chenier 594 

2.  Siberia 771 

3.  Madame   Sans   Gene 708 

Glinka,   M.   I.,  b.   June   1,  1804,   Smolensk;    d. 

Feb.   15,   1857,   Berlin. 

Busslan   and   Ludmilla         762 

A  Life  for  the  Tsar 697 

Gluck,  Christopher  Willibald,  b.  July  2,  1714, 
Weidenwang  (Palatine) ;  d.  Nov.  15, 
1787,  Vienna. 

1.  Armida 25 

2.  Iphigenia  in  Aulis 203 

3.  Iphigenia  in   Tauris        .      .      .      .      .      •   206 

4.  Orfeo  e  Eurydice 326 

Godard,  Benjamin,  b.  Aug.  18,  1849,  Paris. 

La  Vivandiere 787 

Gostz,  Hermann,  b.  Dec.  17,  1840,  Konigsberg, 
in  Prussia;  d.  Dec.  3,  1876,  Zurich. 

Taming  of  the  Shrew 406 

Goldmark,  Carl,  b.  May  18,  1832,  Keszthely 
(Hungaria). 

1.  Cricket   on  the  Hearth 66 

2.  Merlin         287 

3.  Queen   of   Sheba 365 

Gounod,  Charles  FRANgois,  b.  June  17,  1818, 

Paris;   d.  Oct.  18,  1893,  Paris. 

1.  Faust 262 

2.  Philemon  and  Baucis 341 

3.  Romeo  e  Giulietta 388 

4.  Mireille 723 

Grammann,    Karl,    b.    June    3,    1844,    Liibeck; 

d.,  1897,  Dresden. 

1.  Ingrid         199 

2.  Irrlicht 208 

3.  Melusine 281 

Gunsbourg,  b.  1886,  Paris. 

Le  vieil  Aigle 786 

Hahn,  Reynaldo,  b.  Aug.  9,  1874,  Caracas. 

La  Fete  Chez  Therese 660 

xiv 


Index  of  the  Composers 

FOL. 

Halevt,  Jacques  FRANgois  Fromental,  b.  May 
27,  1799,  Paris;  d.  March  17,  1862, 
Nice. 

Juive .218 

Haydn,  Josef,  b.  March  31,  1732,  Rohrau;  d. 
May   31,  1809,  Vienna. 

Apothecary 21 

Herbert,  Victor,  b.  Feb.  1,  1859,  Dublin. 

1.  Madeleine         712 

Natoma 1^5 

Herold,  Louis  Josef  Ferdinand,  b.  Jan.  28, 
1791,  Paris;   d.  Jan.   19,  1833,  Paris. 

Zampa ^44 

Hue,  J.  B.,  b.  May  6,  1858,  Versailles. 

Le  Miracle •   720 

Humperdinck,  Engelbert,  b.  Sept.  1,  1854,  Sieg- 
burg   on  the  Ahme. 

1.  Hansel  and  Gretel 167 

2.  Konigskinder         693 

Kaskel,  Karl,  b.  Oct.  10,  1866,  Dresden. 

Hochzeitsmorgen 184 

Kienzl,  Wilhelm,  b.  Jan.  17,  1857,  Weitzen- 
kirchen    (Austria). 

1.  Evangelimann H5 

2.  Urvasi         432 

3.  Kuhreigen .696 

Kretschmer,  Edmund,  b.  Aug.  31,  1830,  Ostntz 

(Saxony). 

1.  Folkungs  •    ^* 

2.  Henry  the  Lion     ....  ...   176 

Kreutzer,   Conradin,   b.   Nov.    22,    1780,   Moss- 

kirch  (Baden);  d.  Dec.  14,  1849,  Riga. 
Nachtlager  von  Granada   (Night's  Camp)    .   299 
Laparra,  Raoul,  b.  May  13,  1876,  Bordeaux. 

1.  La   Habanera 681 

2.  La  Jota •      •   692 

Lecocq,   Charles,   b.   June    3,   1832,   Paris;    d., 

1918,  Paris. 

La   Fille   de   Madame   Angot 661 

Leoncavallo,  R.,  b.  1859,  Bologna. 

1.  Pagliacci 332 

2.  La  Reginetta  delle  Rose <59 

3.  Zingari 790 

XV 


Index  of  the  Composers 

FOL. 

Leoni,  Franco,  b.  Oct.  24,  1864,  Milan. 

L'Oracolo        .•••••■••;   741 
LeKoux,   X.    H.   N.,  b.    Oct.    11,   1863,  Veletri, 

Italy>  •  R2Q 

1.  Le  Chemmeau °^ 

2.  Cleopatra 635 

3.  La  Reine  Fiametta •   7 

Lindner,    Eugen,    b.    Dec.    11,    1858,    Leipzig; 

lives  in  Weimar. 

Master-Thief        

Lortzing  Albert,  b.  Oct.   23,  1803,  Berlin;   d. 
Jan.  20,  1851,  Berlin. 

1.  Armorer    (Waffenschmied)         .      .      •      •      27 

2.  Czar   and   Zimmermann 70 

3.  Two  Grenadiers 160 

4.  Poacher   (Wildschiitz) 352 

5.  Undine 429 

Maillart,  Louis  Aime,  b.  March  24,  1817,  Mont- 

pellier;   d.  May   26,  1871,  Moulins. 
Les  Dragons  de  Villars        .      .      •      •      •      •   101 
Marschner,  Heinrich,  b.  Aug.  16,  1796,  Zittau; 
d.  Dee.  14,  1861,  Hanover. 

1.  Hans  Heiling JJ2 

2.  Templar  and  Jewess 415 

3.  The  Vampire 436 

Mascagni,  Pietro,  b.  Dec.  7,  1863,  Livorno. 

1.  Cavalleria    Rusticana 60 

2.  Friend  Fritz 150 

3.  Iris ,o 

Massenet,  Jules  bmile  Frederick,  b.  May  12, 

1842,   Saint-fitienne    (Dep.    Loire)  ;    d. 
Aug.   13,   1912. 
1-  Le  Cid 449 

2.  Manon         467 

3.  Le  Jongleur  de  Notre  Dame     .      •      •      -547 

4.  Herodias SfO 

6-  Sappho 505 

6.  Thais 520 

7.  Cendrillon         6Z/ 

8.  Werther ^ 

9.  Don    Quichotte 65J 

10.  Griselidis 6/7 

11.  La   Navarraise 7<J4 

xvi 


Index  of  the  Composers 

FOL. 

Mehul,  etienne  Nicolas,  b.  June  22,  1763, 
Givet;   d.  Oct.  18,  1817,  Paris. 

Joseph   in    Egypt 216 

Messager,  F.,  b.  Dec.  30,  1853,  Montlugon. 

Madame  Chrysanthenie 706 

Meyerbeer,  Jacob,  b.  Sept.  5,  1791,  Berlin;  d. 
May  2,  1864,  Paris. 

1.  Africaine  12 

2.  Huguenots 187 

3.  Prophete 361 

4.  Robert  le  Diable 378 

5.  L'Etoile  du  Nord 655 

Meyer-Helmund,   Erik,  b.   April   25,   1865,   St. 

Petersburg. 

Love's  Battle 240 

Montemezzi,  Italo,  b.  1875,  Verona. 

L'amore  dei  Tre  Re 590 

Moussorgsky,  M.  P.,  b.  March  28,  1835,  Karev, 
Russia;  d.  March  28,  1881,  St.  Peters- 
burg. 

Boris  Godounov 614 

Mozart,  Wolfgang  Amadeus,  b.  Jan.  27,  1756, 
Salzburg;   d.  Dec.  5,  1791,  Vienna. 

1.  Cosi   fan   tutte 63 

2.  Don    Juan 88 

3.  Idomeneus 195 

4.  Magic    Flute         252 

5.  Nozze   di   Figaro 304 

6.  Seraglio 390 

Nessler,  Victor,  b.  Jan.  28,  1841,  Baldenheim 

(Alsace) ;  d.  May  28,  1890,  Strassburg. 

1.  Piper    of    Hameln 348 

2.  Trumpeter  of  Saekkingen 423 

Nicolai,  Otto,  b.  June  9,  1810,  Konigsberg;  d. 

May   11,   1849,   Berlin. 

Merry  Wives  of  Windsor 290 

Nououes,  b.   1876,  Bordeaux. 

Quo  Vadis 757 

Offenbach,  Jacques,  b.  June  21,  1819,  Cologne; 
d.    Oct.    5,   1880,   Paris. 
Tales  of  Hoffmann 490 

xvii 


Index  of  the  Composers 

FOL. 

Paderewski,    Ignaz    Johann,    b.    November    6, 
1859,  Podolien    (Poland). 

Manru •     ;      *      *      ' 

Parker,  Horatio,  b.  Sept.  15,  1863,  Auburndale, 

Mass.  __R 

1.  Fairyland         ££ 

2.  Mona 

Perfall,  Karl  Freiherr  von,  b.  Jan.  29,  1824, 

Munich.  9_ 

Junker  Heinz    (Sir  Harry)      .      .      .      ■      •  <"x 
Pittrich,  Georg,  b.  Feb.  22,  1870,  Dresden. 

Marga •      •.     •      •      •   ^D1 

Planquette,  E.,  b.  July  31,  1850,  Paris;  d.  Jan. 
28,  1903,  Paris. 
Chimes  of  Normandy      .      .      •      •      •      •      '   ™ 
Ponchielli,   A.  B.   Aug  31,  1834,  Cremona;    d. 
Jan.  16,  1886,  Milan. 
La    Gioconda         .      •      •      •      •      ■      •      •  , 
Puccini  Giacomo,  b.  June  22,  1858,  Lucca,  Italy. 

1.  La    Boheme T?Q 

2.  La  Tosca •      •   ,:,, 

3.  Manon   Lescaut °£, 

4.  Madame    Butterfly jj™ 


5.  Girl  of  the  Golden  West 

6.  Suor    Angelica 


777 


Rakhmaninoff,  S.  V.,  b.  April  2,  1873,  Onega, 

Russia.  _24 

Miser   Knight •      •      '.     ' 

Reinecke,  Carl,  b.  June  23,  1824,  Altona;  since 
1860  in  Leipzig.  _ 

By  Order  of  His  Highness  (Auf  hohen 

Befehl)         «      •,    V    * 

Reyer,  Louis,  b.  Dec.  1,  1823,  Marseilles,  d.  Jan. 

15,  1909,  Hyeres.  774 

Reznicek,  E.  N.  Freiherr  von  b.  May  4,  1861, 

Vienna.  gg 

Donna   Diana •       ,    *     ,* 

Ricci,  Frederico,  b.   Oct.  22,  1809,  Naples;   d. 

Dec.  10,  1877.  fi„7 

Crispino  e  la  Comare    .      .      •      •      •      •      • 
Ritter,    Alexander,    b.    June    27,    1M6,    JNarva 
'      (Russia) ;  d.  April  12,  1896,  Munich. 
Idle  Hans       .     . 


•  •  • 

xvm 


Index  of  the  Composers 

FOL. 

Rossini,  Gioacchino  Antonio,  b.  Feb.  29,  1792, 
Pesaro;  d.  Nov.  13,  1868,  Paris. 

1.  Barbiere  di  Seviglia 42 

2.  Semiramide 477 

3.  William   Tell 412 

Rubenstein,  Anton,  b.  Nov.  30,  1830,  Wechwoty- 

netz    (Moscow);   d.   Nov.  25,  1894,  St. 
Petersburg. 

1.  Demonio 77 

2.  Maccabees        248 

Saint-Saens,  Camille,  b.  October  9,  1835,  Paris, 

France. 

1.  Dalila 455 

2.  Dejanire 642 

3.  Henry    "VTII 682 

Schumann,  Robert,  b.  June  8,  1810,  Zwickau;  d. 

July  29,  1856,  Endenich,  near  Bonn. 

Genoveva 154 

Smetana,  Fredr.,  b.  March  2,  1824,  Leitomischl; 
d.  May  12,  1884,  Prague. 

Sold   Bride 399 

Spohr,  Ludwig,  b.  April  5,  1784,  Brunswick;  d. 
Nov.   22,  1859,   Kassel. 

Jessonda 214 

Strauss,  Johann,  b.  Oct.  25,  1825;  Vienna;  d. 
June  3,  1899. 

Die  Fledermaus  (The  Bat) 483 

Strauss,  Richard,  b.  June  11,  1864  Munich. 

1.  Salome        560 

2.  Elektra 575 

3.  Cavalier  of  the  Rose 623 

Stravinsky,  Igor  F.,  b.  June  17,  1882,  Petrograd. 

Petrouchka 750 

Sullivan,  Sir  Arthur,  b.  May  13,  1842,  London; 
d.   Nov.  22,  1900,  London. 

Mikado 717 

Thomas,  Charles  Louis  Ambroise,  b.  Aug    5 
1811,  Metz;  d.  Feb.  12,  1896,  Paris. 

1.  Hamlet 164 

2.  Mignon 293 

Thuille,  Ludwig,  b.  Nov.   30,   1861,  Bozen;   d. 

Feb.  5,  1907,  Munich. 
Lobetanz 700 

xix 


Index  of  the  Composers 

FOL. 

Verdi,    Giuseppe,    b.    9,    1813,    Bcmcole    (Lom- 
bardy)  ;   d  Jan.  27,  1901,  Milan. 

1.  Aula 16 

2.  Ballo  in  Maschera 32 

3.  Don    Carlos 85 

4.  Ernani 460 

5.  Falstaff 120 

6.  Othello         328 

7.  Eigoletto 376 

8.  Traviata 417 

9.  Trovatore 426 

Wagner,  Eichard,  b.  May  22,  1813,  Leipzig;  d. 

Feb.  13,  1883,  Venice. 

1.  Dusk  of  the  Gods 107 

2.  Flying   Dutchman 130 

3.  Lohengrin         230 

4.  Master-Singers  of  Nuremburg  ....  269 

5.  Parsifal 337 

6.  Bhinegold 369 

7.  Rienzi 373 

8.  Siegfried 392 

9.  Tannhauser 408 

10.  Tristan   and   Isolde 420 

11.  Walkyrie 440 

Wallace,  William  V.,  b.  June  1,  1813,  Water- 
ford,  Ireland;  d.  Oct.  12,  1865,  France. 

Maritana 714 

Weber,  Carl  Maria  von,  b.  Dec,  1786,  Eutin; 
d.  June  5,  1826,  London. 

1.  Abu   Hassan     . 9 

2.  Euryanthe         112 

3.  Freischiitz 146 

4.  Oberon         312 

5.  Three  Pintos 344 

6.  Preciosa 358 

7.  Silvana 395 

Wolf-Ferrari,  Ermano,  b.  Jan.  12,  1876,  Venice. 

1.  L  'Amore  Medico '    .      .  598 

2.  Secret  of  Suzanne 769 

3.  Le  Donne  Curiose        .          648 

4.  Jewels  of  the  Madonna 688 

Zandonai,  Eicardo,  b.   May  28,  1883,  Trentino. 

Francesca  da  Eimini 665 

xx 


Prelude 


THE 

STANDARD  OPERAGLASS 

PRELUDE 

After  all,  editions  do  count  for  something, 
particularly  if  you  are  confronted  by  the  fif- 
teenth edition  of  a  book  that  deals  with  such 
a  fleshless  subject  as  an  opera  plot.  But  Mr. 
Charles  Annesley  may  point  the  index-finger 
of  pride  at  "The  Standard  Operaglass"  as  a 
triumphant  refutation  of  the  notion  that  de- 
scription of  a  libretto  of  necessity  entails  dry- 
ness of  treatment.  This  modest-appearing  vol- 
ume contains  the  detailed  plots  of  one  hundred 
and  fifty-five  well-known  operas  and  music 
dramas.  It  ranges  from  1714,  when  Gluck  was 
born,  to  1863,  when  Mascagni  saw  the  light ; 
from  "Armida"  of  Gluck  to  "The  Cricket 
on  the  Hearth"  of  Goldmark.  Such  a  various 
range  is  valuable  as  it  is  satisfying. 

It  was  Theophile  Gautier,  master  of  pictu- 
resque French  prose,  who  read  the  dictionary 
every  day,  searching  for  now  words,  for  unex- 

i 


The  Standard  Operaglass 

pected  combinations.  Walter  Pater,  the  Eng- 
lish composer  of  beautiful  sentences,  read  his 
dictionary  daily,  but  for  another  reason.  He 
sought  for  the  word  to  be  avoided,  for  the 
word  to  be  forever  banned.  Yet  one  is  in- 
clined to  agree  with  a  later  writer,  who  openly 
avowed  a  morbid  appetite  for  dictionaries,  in- 
dexes, and  books  of  reference.  A  delightful 
train  of  association  may  be  set  spinning  on 
smooth  rails  round  about  the  land  of  memory, 
and  I  confess,  without  reservation,  to  digging 
up  without  toil  many  pleasant  moments  whilst 
reading  the  index  of  "The  Standard  Opera- 
glass." 

Let  us  look  at  it  closely. 

It  begins  quite  properly  with  "  Ab  " — "  Abu 
Hassan,"  by  Weber.  Who  has  ever  heard  this 
work  ?  Not  I  ;  yet  it  was  once — alas,  fatal 
indication  of  fashion's  changes! — a  popular  and 
sprightly  little  piece,  written,  as  Mr.  Annesley 
says,  in  the  composer's  youth.  It  has  been  re- 
vived, but  operatic  resurrections  usually  are,  as 
we  know,  futile  things.  Any  opera  of  value 
survives,  not  only  in  the  music  of  its  successors 
— as  some  wit  maliciously  remarked — but  in 
some  collection  culled  from  the  past,  some  sing- 
er's repertoire  album.  So  Weber's  youthful 
piece  is  recalled  to  us  by  the  occasionally  sung 
contralto  solo,  "  0  Fatima,  gift  sent  from 
heaven." 

3 


Prelude 

Then,  to  continue  our  meandering  through 
the  few  examples  of  the  initial  letter  of  the  al- 
phabet, we  have  "  L'Africaine."  Thanks  to 
some  who  still  discern  in  Meyerbeer  vestiges  of 
a  striking  manner,  if  not  a  wealth  of  thematic 
matter,  this  greatest  of  his  works — I  say  "  great- 
est "  quite  in  variance  to  popular  critical  opin- 
ion— is  not  fallen  into  the  dust-bin  of  opera- 
land.  Oddly  enough,  the  index  gives  us  "  A'ida  " 
as  its  companion.  This  jostling  of  titles  has  a 
pretty  significance.  With  a  genius  more  alert, 
vivid,  and  vigorous,  Verdi  nevertheless  had 
"  L'Africaine "  in  his  mind's  eye  when  he 
penned  "Ai'da."  With  the  same  complexion, 
two  works  could  not  be  more  remotely  sun- 
dered, but  there  is  a  general  resemblance:  Both 
are  tropical  themes,  tropically  treated.  Almost 
symphonic  in  outline  is  Meyerbeer's  effort;  tor- 
rentially  dramatic  is  Verdi's  handling.  Both 
men  are  master  colorists. 

Shall  I  dwell  upon  Flotow's  "Stradella" 
when  Stradella's  original  air,  "  Pity,  0  Saviour," 
is  still  sung  ?  And  where  hath  vanished  Flotow's 
music — all  except  delightful  "  Martha  "  ?  "  Ar- 
mida  "  brings  us  back  to  Gluck,  the  father  of 
the  modern  music  drama;  "  The  Armorer,"  by 
Lortzing,  suggests  that  this  neglected  composer 
is  now  winning  his  just  dues  in  Germany. 
What  memories  are  evoked  by  Auber's  "  Ballo 
in  Maschera,"  which,  as  the  editor  reminds  us, 

3 


The  Standard  Operaglass 

has  not  been  quite  superseded  by  Verdi's  opera 
of  the  same  title.     Auber,  creator  of  genuine 
light  opera,  was  crowded  out  by  Offenbach-a 
buffoon  of  genius.      "  The  Barber  of  Bagdad, 
by  Peter  Cornelius,  is  but  a  sbadow  of  a  name 
to  many,  yet  when  played  at  the  Metropolitan 
Opera-bouse,  New  York,  not  a  decade  ago,  its 
musical  beauty  and  spontaneity  were  instantly 
recognized.      It  deserves  a  prominent  place  in 
the  repertory  of  all  model  opera-houses  because 
of  its  brightness,  ligbtness  of  touch,  and,  above 
all,   for  the    famous    bass  solo,   with    chorus, 
"  Salaam  !  Aleikonm." 

The    temptation    to    proceed    alphabetically 
must  be  resisted,  else  this  idle  preluding  might 
be  magnified  into  grave  rivalry  with  the  editor. 
This  temptation  is  all  the  harder  to  overcome 
when  one  reads  such  titles  as  "  Barber  of  Se- 
ville" and    "Benvenuto    Cellini,"   titles  that 
quite  allure  to  garrulousness.      Think  of  the 
critical  sport  missed  in  not  being  able  to  ]uggle 
with  the  names  of  Rossini  and  Berlioz  !     The 
fat  and  lean  of  music  !     The  one  fairly  exuding 
melodies,  oily,  suave,  happy,  cynical,  and   an 
amateur  cook;  the  other  gaunt  and  often  hun- 
gry  cynical  with  the  cynicism  of  the  neglected, 
and  a  man  who  literally  made  his  harmonies  by 
the  sweat  of  his  brow.     Ah,  here  would  be  a  fine 
chance  to  pit  the  two  dead  men  in  critical  com- 
bat.' 

4 


Prelude 

A  hurried  survey  of  the  excellent  index  of 
this  book  gives  some  idea  of  the  mortality  of 
music.  Who  was  it  that  said  women  and  music 
age  quickly  ?  The  life  of  the  average  woman  is 
long  compared  to  the  life  of  most  lyric  dramas. 
A  sympathetic  shudder  seizes  me  as  I  read  the 
names  of  operas  long  since  forgotten,  operas 
over  which  blood  and  ink  were  spilled,  operas 
that  made  famous  their  creators. 

Solomon  might  have  aptly  remarked  of  ope- 
ratic music,  "  All  is  vanity."  No  form  decays 
so  rapidly  ;  of  no  musical  form  does  the  public 
so  quickly  tire.  Who  remembers  Maillart's 
"  Dragons  de  Villars  "  ?  How  thickly  the  dust 
coats  Weber's  "  Euryanthe,"  all  except  the 
overture!  Who  cares  for  Schumann's  "  Gen- 
oveva,"  the  overture  not  included?  And 
Adams'  "  Nuremberg  Doll,"  which  was  the 
forerunner  of  several  modern  ballets  with  me- 
chanical dolls?  Where  are  Boieldieu's  "Jean 
of  Paris  "  and  Spohr's  "  Jessonda  "  ?  Mehul's 
"  Joseph  of  Egypt  "  is  crystallized  in  a  few  tenor 
airs  served  up  at  classical  concerts,  and  for  the 
most  part  served  coldly.  If  you  protest  that 
these  are  not  masterpieces,  and  deserve  the  dust's 
doom,  what  can  you  say  to  Gluck's  two  "  Iphi- 
genias  "  ?  They  are  masterpieces.  Does  even 
"  Freischiitz  "  get  fair  play?  We  hear  "Lu- 
cia," but  how  often  "  Preciosa"?  We  are  over- 
whelmed with  "  Les  Huguenots,"  but  why  noi 

5 


The  Standard   Operaglass 

"Orfeo"    oftener?       Goldmark's   "Queen  of 
Sheba"  has  almost  vanished  from  most  operatic 
bill-boards,  yet  why  is  "  Faust  "  sung  so  often  ? 
This,  of  course,  is  not  an  attempt  at  comparative 
criticism,  but  merely  a  plea  for  more  variety— 
for  fair  play.  Mr.  Annesley's  index  yields  mauy 
suggestions;     throws    up    many    comparisons. 
From  Bizet's  "  Carmen"  we  may  never  expect 
to   be   released,  nor  would  we.     It  is,  of  its 
kind,  a  masterpiece  ;   but  could   not   "  Magic 
Flute  "  be  given  once  a  season  ?     "  Eigoletto  " 
has  a  thrill  enclosed  in  its  dramatic  framework, 
yet  could  we  not  spare  it  for  that  frolicksome 
child  of  the  octogenarian  Verdi,  "Falstaff"? 
Who  would  listen  to  "Hamlet"  nowadays,  es- 
pecially the  perverted  Gallic  version  of  Ambroise 
Thomas,  were  it  not  for  the  solitary  soprano  aria 
at  the  close  ?     Personally  I  would  give  not  one 
"  Hansel  and  Gretel  "  f  or  a  hundred  such  mel- 
ancholy Danes — Danes  who  sing  an  optimistic 
drinking-song  almost  within  the  awful  shadow 
of  the  paternal  ghost ! 

Richard  Wagner  is  treated  ae  fully  as  the  con- 
fines of  such  a  handy  book  of  reference  permits. 
••'  Rienzi,"  "Flying Dutchman,"  "Lohengrin," 
"  Tannhauser,"  "  The  Ring  of  the  Nibelungs  ': 
—with  its  four  evenings— "  Meistersinger," 
"Tristan  and  Isolde,"  and  even  "Parsifal," 
are  skeletonized  and  set  forth  in  clear  phrasing. 
Modern  operatic  works,  such  as  "  Folkungs," 

6 


Prelude 

by  Kretschmer;  "  Ingrid,"  by  Gramman;  Cha- 
brier's  "  King  Against  His  AVill  ";  "  Maiden  of 
Schilda  "  and  "  Lorle,"  by  Foerster;  "  Marga," 
by  Pittrich ;  "  The  Master  Thief  "  and ' '  Ramiro, " 
by  Eugen  Lindner;  "  Pagliacci,"  by  Leonca- 
vallo; "Love's  Battle,"  by  Meyer-Helmund; 
Perfall's  "  Sir  Harry  ";  "  Roi  Pa  Dit,"  by  De- 
libes;  "Urvasi,"  by  Kienzl;  "The  Evangeli- 
mann,"  by  the  same  composer;  "  Donna  Diana," 
by  Reznicek;  "The  Sold  Bride,"  by  Smetana; 
"The  Cricket  on  the  Hearth,"  by  Goldmark; 
and  "Odysseus'  Return,"  by  Bungert,  are  all 
duly  exploited.  Many  of  these  names  are  un- 
familiar to  the  majority  of  opera-goers,  but  with 
the  expansion  of  operatic  repertories  we  hope 
soon  to  hear  them  all.  Some  of  them  are  reign- 
ing European  successes,  whilst  the  wisdom  of 
the  inclusion  of  the  plots  of  many  half-forgotten 
and  almost  buried  operas  is  evidenced  by  the 
fact  that  revivals  are  of  annual  occurrence;  be- 
sides, the  book  is  a  standard  one,  not  merely  a 
guide  for  the  passing  novelties  of  the  hour.  We 
may  expect  to  hear  Haydn's  "Apothecary"; 
and  what  pleasure  the  performance  of  Bizet's 
"Djamileh"  would  give!  Who  knows  the 
plot  of  Herold's  "  Zampa  "  and  Weber's  "  Sil- 
vana"?  These  titles  mean  little  to  cultivated 
music  lovers.  However,  it  is  not  safe  to  predict 
that  such  two  forgotten  worthies  will  never  be 
exhumed.       Mr.    Annesley's  volume    is    well- 

7 


The  Standard   Operaglass 

named.  "  The  Standard  Operaglass  "  is  much 
in  miniature.  It  maybe  put  in  your  pocket, 
and  read  at  home  or  abroad.  The  author  does 
not  burden  you  with  superfluous  comment,  and 
he  tells  his  story  neatly,  rapidly,  and  without 
undue  emphasis.  He  reverences  the  classics, 
does  not  disdain  mediocrity,  admires  Wagner, 
and  is  liberal  to  the  younger  men.  What  more 
can  one  ask  ? 

James  Hunekeb. 


ABU    HASSAN 

Comic  Opera  in  one  act  by  WEBER 
Text  by  HEIMER 

This  little  opera,  composed  by  Weber  in  his 
early  youth  and  first  represented  at  Dresden 
under  the  composer's  own  direction,  for  a  time 
fell  into  utter  oblivion,  but  has  lately  been  re- 
produced. 

Though  short  and  unpretending,  it  really  de- 
serves to  be  heard,  the  music  is  so  full  of  sweet- 
ness, so  fresh  and  pretty. 

The  text  is  taken  from  a  tale  of  the  Arabian 
Thousand  and  One  Nights,  and  though  full  of 
nonsense,  it  amuses  by  its  lightheadedness  and 
gaiety  of  spirit. 

Abu  Hassan,  favorite  of  the  Calif  of  Bagdad, 
has  lived  above  his  means,  and  is  now  regaled 
with  bread  and  water  by  his  wife  Fatima,  whose 
only  fault  is  that  she  sings  better  than  she 
cooks.  In  order  to  better  his  fortunes,  Abu 
Hassan  hits  upon  a  strange  plan.  He  sends  his 
wife  to  the  Calif's  wife,  Zobei'de,  to  announce 
his  (Hassan's)  death,  for  which  she  will  obtain 
50  gold  pieces  and  a  piece  of  brocade.      Fatima 

9 


The  Standard  Operaglass 

departs,  and  in  the  meantime  enter  Abu  Hassan's 
creditors  with  the  appeal  for  money.  Unable 
to  satisfy  them,  the  debtor  approaches  the  eldest 
and  richest  among  them,  and  so  pacifies  him 
with  sweet  words,  which  he  is  given  to  under- 
stand Fatima  has  sent  him,  that  old  Omar  con- 
sents to  pay  all  the  creditors. 

When  they  are  gone,   Fatima  returns  with 
Zobeide's  presents,  and  Abu  Hassan   prepares 
to  go  in  his  turn  to  the  Calif,  in  order  to  repeat 
a  similar  death -story  about  his  wife  and  get  a 
like  sum.     While  he  is  away  Omar  reappears. 
He  has  bought  all  Hassan's  accounts  from  his 
numerous  creditors  and  offers  them  to  Fatima 
for  a  kiss.     At  this  moment  the  husband  re- 
turns.   Omar  is  shut  into  the  adjoining  cabinet, 
and  the  wife  secretly  points  out  the  caged  bird 
to  her  spouse,  who  begins  to  storm  at  finding 
the  door  of  the  next  room  closed,  greatly  to  the 
anguish    of    the    old    sinner    Omar,— anguish 
which  is  enjoyed  by  his  tormentors  to  the  full. 
In  the  midst  of  this  scene  Mesrur,  messenger 
of  the  Calif,  appears,  to  find  out  whether  Fatima 
is  really  dead.     The  Calif  and  his  wife  having 
each  received  news  of  the  death  of  the  other's 
favorite,  want  to  know  who  it  was  that  died, 
and,  if  both   are  dead,  who  died  first.      The 
Calif  affirms  that  it  is  Fatima— his  wife,  that  it 
is  Abu  Hassan.      They  have  made  a  bet,  and 
Mesrur,  seeing  Fatima  lying  motionless  on  the 


IO 


Abu   Hassan 

divan,  covered  with  the  brocade,  and  her  bus- 
baud  in  evident  distress  beside  her,  runs  away 
to  convey  the  tidings  to  the  Calif.  He  is  hardly 
gone  when  Zobeide's  nurse,  Zemrud,  conies  on 
a  similar  errand  from  her  mistress.  Fatima,  who 
has  just  covered  her  husband  with  the  brocade, 
receives  her  with  tears  and  laments,  and  the 
nurse  departs  triumphantly. 

Hassan  presently  comes  to  life  again,  but  he 
and  Fatima  are  not  long  permitted  to  con- 
gratulate one  another  on  the  success  of  their 
scheme,  for  the  arrival  of  the  Calif  with  his 
wife  is  pompously  announced.  Both  throw 
themselves  on  the  divans,  covering  themselves, 
and  so  the  august  couple  finds  them  dead. 
The  Calif,  much  afflicted  by  the  sight,  offers 
1000  gold  pieces  to  any  one  who  can  tell  him 
which  of  the  two  died  first.  No  sooner  does 
Hassan  hear  this  than,  tearing  aside  his  cover, 
he  throws  himself  at  the  Calif's  feet,  crying 
out :  "It  was  I  who  died  first  \"  at  the  same 
time  craving  the  Calif's  pardon  together  with 
the  gold  pieces.  Fatima  is  also  speedily  re- 
suscitated and  the  Calif  pardons  his  favorites, 
Hassan  meanwhile  asserting  that  he  only  died 
badly  in  order  to  live  better.  Omar,  who  has 
paid  their  bills  in  the  hope  of  winning  Fatima's 
love,  is  driven  away  in  disgrace. 


XI 


The  Standard  Operaglass 
L'AFRICAIKE 

Opera  in   five    acts  by   MEYERBEER 
Text  by  E.  SCRIBE,  translated  by  GUMPERT 

L'Africaine,  one  of  the  Maestro's  last  operas 
(1865),  unites  in  itself  all  the  strength  and  at 
the  same  time  all  the  weakness  of  Meyerbeer's 
composition. 

The  music  is  easy-flowing  and  enthralls  us 
with  its  delicious  melodies;  but  it  only  appeals 
to  our  senses,  and  nobler  thoughts  are  altogether 
wanting.  Nevertheless  the  opera  finds  favor  by 
reason  of  these  advantages,  which  are  supple- 
mented by  an  interesting  though  rather  improb- 
able libretto. 

The  famous  Portuguese  navigator  Vasco  da 
Gama  (born  in  1469)  is  the  hero,  though  he 
does  not  appear  in  the  best  possible  light,  and  is 
by  no  means  strictly  historical. 

The  first  scene  is  laid  in  Lisbon.  Donna 
Inez,  Admiral  Diego's  daughter,  is  to  give  her 
hand  to  Don  Pedro,  a  counsellor  of  King  Em- 
manuel of  Portugal.  But  she  has  pledged  her 
faith  to  Vasco  da  Gama,  who  has  been  sent 
with  Diaz,  the  navigator,  to  double  the  Cape, 
in  order  to  seek  for  a  new  land,  containing  treas- 
ures similar  to  those  discovered  by  Columbus. 
Keports  have  reached  Lisbon  that  the  whole 


L'Africaine 

fleet  ha8  been  destroyed,  when  suddenly  Vasco 
da  Gama  appears  before  the  assembled  council 
of  state. 

He  eloquently  describes  the  dangers  of  the 
unknown  seas  near  the  Cape  and  gives  an  ac- 
count of  the  shipwreck,  from  which  he  alone 
has  escaped.  He  then  places  his  maps  before 
the  council,  endeavoring  to  prove  that  beyond 
Africa  there  is  another  country,  yet  to  be  ex- 
plored and  conquered. 

Vasco  has  on  his  way  home  picked  up  a  man 
and  a  woman  of  an  unknown  race.  Those 
slaves  however  stubbornly  refuse  to  betray  the 
name  of  their  country,  and  a  lively  debate  ensues 
between  the  Grand  Inquisitor  and  the  young- 
er, more  enlightened  members  of  the  coun- 
cil au  to  the  course  which  should  be  adopted 
with  Vasco.  At  last,  owing  to  the  irritation 
caused  by  his  violent  reproaches,  fanaticism  is 
victorious,  and  instead  of  being  furnished  with 
a  ship  to  explore  those  unknown  lands,  he  is 
thrown  into  prison,  on  the  plea  of  his  being  a 
heretic,  for  having  maintained  the  existence  of 
countries  which  were  not  mentioned  in  the 
Holy  Scriptures. 

The  second  act  takes  place  in  a  cell  of  the 
Inquisition,  in  which  Vasco  has  been  languish- 
ing for  a  month  past,  in  the  company  of  the 
strange  slaves  Nelusko  and  Selika.  The  latter 
has  lost  her  heart  to  the  proud  Portuguese,  who 

x3 


The  Standard   Operaglass 

saved  her  and  her  companion  from  a  slave-ship. 
Bat  Vasco  is  only  thinking  of  Inez,  and  Nelusko, 
who  honors  in  Selika  not  only  his  Queen,  but 
the  woman  of  his  love,  tries  to  stab  Vasco,  the 
Christian,  whom  he  hates  with  a  deadly  hatred. 
Selika  hinders  him  and  rouses  the  sleeping 
Vasco,  who  has  been  dreaming  of  and  plan- 
ning his  voyage  to  the  unknown  country. 

Selika  now  shows  him  on  the  map  the  way  to 
her  native  isle,  and  he  vows  her  eternal  grati- 
tude. His  liberty  is  indeed  near  at  hand,  for 
hardly  has  he  given  his  vow,  than  Inez  steps  in 
to  announce  that  Vasco  is  free.  She  has  paid 
dearly  for  her  lover's  deliverance,  however,  for 
she  has  given  her  hand  to  Vasco's  rival,  Don 
Pedro,  who,  having  got  all  Vasco's  plans  and 
maps,  is  commissioned  by  government  to  set 
out  on  the  voyage  of  discovery. 

Inez  has  been  told  that  Vasco  has  forgotten 
her  for  Selika  the  slave.  In  order  to  prove  his 
fidelity,  our  ungrateful  hero  immediately  pre- 
sents her  with  the  two  slaves,  and  Don  Pedro 
resolves  to  make  use  of  them  for  his  exploration. 

In  the  third  act  we  are  on  board  of  Don 
Pedro's  ship  in  the  Indian  seas.  Donna  Inez  is 
with  her  husband  and  Nelusko  has  been  ap- 
pointed pilot.  Don  Alvar,  a  member  of  the 
council  and  Don  Pedro's  frieud,  warns  the  lat- 
ter that  Nelusko  is  meditating  treason,  for  they 
have  already  lost  two  ships;  but  Pedro  disre- 

14 


L'Africaine 

gards  the  warning.  A  typhoon  arises,  and  Ne- 
lusko  turns  the  ship  again  northward.  But 
Vasco  has  found  means  to  follow  them  on  a 
small  sailing  vessel;  he  overtakes  them,  and 
knowing  the  spot  well  where  Diaz  was  ship- 
wrecked, he  entreats  them  to  change  their 
course,  his  only  thought  being  Donna  Inez's, 
safety.  But  Pedro,  delighted  to  have  his  rival 
in  his  power,  orders  him  to  be  bound  and  shot. 
Inez,  hearing  his  voice,  invokes  her  husband's 
mercy.  Just  then  the  tempest  breaks  out,  the 
vessel  strikes  upon  a  rock,  and  the  cannibals  in- 
habiting the  neighboring  country  leap  on  board 
to  liberate  their  Queen  Selika  and  to  massacre 
tbe  whole  crew,  in  the  fulfilment  of  which  in- 
tention they  are,  however,  arrested  by  Selika. 

In  the  following  acts  Selika  resides  as  Queen 
on  the  Isle  of  Madagascar.  The  people  render 
her  homage,  but  her  priests  demand  the  stran- 
gers' lives  as  a  sacrifice  to  their  gods,  while  the 
women  are  condemned  to  inhale  the  poisoned 
perfume  of  the  manzanil  la-tree. — In  order  to 
save  Vasco,  Selika  proclaims  him  her  husband, 
and  takes  Nelusko  as  witness,  swearing  to  him 
that  if  Vasco  is  sacrificed  she  will  die  with  him. 
Nelusko,  whose  love  for  his  Queen  is  greater 
even  than  his  hatred  for  Vasco,  vouches  for  their 
being  man  and  wife,  and  the  people  now  proceed 
+o  celebrate  the  solemn  rites  of  marriage. 

Vasco,  at  last  recognizing  Selika's  great  love, 

15 


The  Standard   Operaglass 

and  believing  Inez  dead,  once  more  vows  eternal 
fidelity  to  lier  ;  but,  alas!  hearing  the  voice  of 
Inez,  who  is  about  to  be  led  to  death,  he  turns 
pale,  and  Selika  but  too  truly  divines  the  reason. 

In  the  fifth  act  Selika  is  resolved  to  put  her 
rival  to  death.  She  sends  for  her,  but  perceiv- 
ing Inez's  love,  her  wrath  vanishes,  her  magna- 
nimity soars  above  her  hatred  of  the  Christians, 
and  she  orders  Nelusko  to  bring  Inez  and  Vasco 
on  board  of  a  ship  about  to  sail  for  Portugal. 

Selika  herself,  unable  to  endure  life  without 
her  beloved  one,  proceeds  to  the  Cape,  where 
the  manzanilla-tree  spreads  its  poisonous  shade. 
Her  eyes  fastened  on  the  vast  ocean  and  on  the 
white  sail  of  the  retiring  vessel,  she  inhales  the 
sweet  but  deadly  perfume  of  the  blossoms,  and 
the  returning  Nelusko  finds  her  dying,  while  an 
unseen  chorus  consoles  her  with  the  thought 
that  in  Love's  eternal  domain  all  are  equal. 

AlDA 

Grand  romantic  Opera    in  four    acts  by  GITJSEPPI 

VERDI- 

Text  by  ANTONIO  GHISLANZONI.      Translated  into  German  by 
S.  SCHANZ.      English  version  by  KENNEY 

This  opera  owes  its  great  popularity  not  only 
to  its  brilliant  music  and  skilful  instrumenta- 
tion, but  also  to  its  really  magnificent  outfit  and 

16 


Alda 

decorations.  Alda  ranks  among  the  best  operas 
of  Verdi.  The  plot  is  takeu  from  old  Egypt ; 
aud  the  music,  with  its  Eastern  and  somewhat 
sensuous  coloring,  is  exquisitely  adapted  to  the 
scenery. 

The  scene  of  action  is  alternately  Memphis 
and  Thebes,  and  the  story  belongs  to  the  period 
when  the  Pharaohs  sat  on  the  throne. 

In  the  first  act  we  see  the  King's  palace  at 
Memphis.  Ramphis,  the  Highpriest  of  Pharaoh, 
announces  to  the  Egyptian  General  Radames 
that  the  Ethiopians  are  in  revolt  and  that  the 
goddess  Isis  has  decided  who  shall  be  leader  of  the 
army  sent  out  against  them.  Radames  secretly 
hopes  to  be  the  elected,  in  order  to  win  the 
Ethiopian  slave  Ai'da,  whom  he  loves,  not  know- 
ing that  she  is  a  King's  daughter. 

Enter  Amneris,  daughter  of  Pharaoh.  She 
loves  Radames,  without  his  knowledge,  and  so 
does  Ai'da.  Amneris,  suspecting  this,  swears  to 
avenge  herself  should  her  suspicion  prove  cor- 
rect. 

The  King's  messenger  announces  that  Amo- 
nasro,  the  Ethiopian  King  (Aula's  father),  is 
marching  to  the  capital,  and  that  Radames  is 
chosen  to  conquer  the  foe.  Radames  goes  to 
the  temple  to  invoke  the  benediction  of  the 
goddess  and  to  receive  the  sacred  arms. 

In  the  second  act  Amneris,  in  order  to  test 
Ai'da's  feelings,  tells  her  that  Radames  fell  in 

2  17 


The  Standard  Operaglass 

battle,  and  finds  her  doubts  confirmed  by  A'ida's 
terror.  Amneris  openly  threatens  her  rival, 
and  both  hasten  to  receive  the  soldiers,  who  re- 
turn victorious.  In  Eadames'  suite  walks  King 
Amonasro,  who  has  been  taken  prisoner,  dis- 
guised, as  a  simple  officer.  Aida  recognizes  her 
father,  and  Amonasro,  telling  his  conqueror 
that  the  Ethiopian  King  has  fallen,  implores  his 
clemency.  Eadames,  seeing  Aida  in  tears,  adds 
his  entreaties  to  those  of  the  Ethiopian;  and 
Pharaoh  decides  to  set  the  prisoners  free,  with 
the  exception  of  A'ida's  father,  who  is  to  sta 
with  his  daughter.  Pharaoh  then  gives  Amueri 
to  Eadames  as  a  recompense  for  his  services. 

In  the  third  act  Amonasro  has  discovered  the 
mutual  love  of  his  daughter  and  Eadames  and 
resolves  to  make  use  of  it.  While  Amneris  prays 
in  the  temple  that  her  bridegroom  may  give  his 
whole  heart  to  her,  Amonasro  bids  his  daughter 
discover  the  secret  of  the  Egyptian  war  plans 
from  her  lover.  Amonasro  hides  himself,  and 
Aida  has  an  interview  with  Eadames,  in  which 
he  reveals  all  to  her.  She  persuades  him  to  fly 
with  her,  when  Amonasro  shows  himself,  telling 
him  that  he  has  heard  all  and  confessing  that 
he  is  the  Ethiopian  King.  While  they  are 
speaking,  Amneris  overtakes  and  denounces 
them.  Amonasro  escapes  with  his  daughter, 
Eadames  remains  in  the  hand  of  Eamphis  the 

Highpriest. 

18 


Alessandro  Stradella 

In  the  fourth  act  Radames  is  visited  in  his 
cell  by  Amneris,  who  promises  to  save  him 
from  the  awful  death  of  beiug  buried  alive,  if 
he  renounces  Aida.  But  Radames  refuses, 
though  she  tells  him  that  Aida  has  fled  into 
her  country,  her  father  being  slain  on  their 
flight. 

Amneris  at  length  regrets  her  jealousy  and 
repents,  but  too  late!  Nothing  can  save  Ea- 
dames; and  she  is  obliged  to  see  him  led  into 
his  living  tomb.  Amneris  curses  the  priests, 
who  close  the  subterranean  vaults  with  a  rock. 
Radames,  preparing  himself  for  death,  discovers 
Ai'da  by  his  side.  She  has  found  means  to  pene- 
trate into  his  tomb,  resolved  to  die  with  her 
lover. 

While  she  sinks  into  his  arms,  Amneris  prays 
outside  for  Radames'  peace  and  eternal,  happi- 
ness. 

ALESSANDRO   STRADELLA 

Romantic  Opera  in  three  acts  by  FLOTOW 
Text  after  the  French  by  W.  FRIEDRICH 

Flotow,  who  composed  this  little  opera  when 
at  Paris  in  the  year  1844,  that  is  long  before  his 
Martha,  had  the  satisfaction  of  scoring  a  great 
success  on  the  evening  of  its  first  representation 
in  Hamburg.  The  pleasant  impression  then 
made  by  its  agreeable  and  lovely  melodies  has 

19 


The  Standard   Operaglass 

not  faded  the  less  that,  after  hearing  many  of 
our  stormy  and  exciting  modern  operas,  one 
often  and  ardently  longs  for  the  restful  charm 
and  guileless  pleasure  of  a  piece  like  this. 

The  libretto  is  interesting  and  touching,  with- 
out being  over-sensational. 

Stradella,  the  celebrated  Venetian  singer,  has 
fallen  in  love  with  Leonore,  ward  of  a  rich 
Venetian  citizen  named  Bassi.  She  returns  his 
love,  but  is  strictly  guarded  by  her  uncle,  who 
wants  to  marry  her  himself.  Stradella  succeeds 
in  deceiving  Bassi  and,  aided,  by  his  friend, 
carries  her  off  during  the  Carnival.  In  the 
second  act  we  find  the  lovers  in  a  little  village 
near  Rome,  where  a  priest  unites  them  for  ever 
and  gives  them  his  benediction. 

But  Malvolio,  a  bandit,  has  sought  them  by 
Bassi's.orders,  and  discovers  their  refuge.  En- 
tering the  villa,  where  he  finds  open  doors  but 
no  people,  he  meets  with  another  bandit,  in 
whom  he  recognizes  his  friend  Barbarino,  also 
sent,  as  it  turns  out,  on  the  same  errand. 

They  decide  to  do  the  business  together,  that 
is  to  say,  to  kill  Stradella,  and  to  carry  his  wife 
back  to  her  guardian.  Under  the  mask  of  pil- 
grims going  to  a  sacred  festival  they  find  a 
kindly  shelter  in  Stradella's  house  and  are  won 
by  the  latter's  fine  voice,  as  well  as  by  the  charm 
of  his  noble  behavior,  so  that  they  wholly  aban- 
don their  evil  purpose. 


20 


The  Apothecary 

But  in  the  third  act  Bassi  appears,  and,  not 
finding  his  order  executed,  offers  such  a  large 
sum  of  gold  to  the  banditti  that  they  at  length 
promise  to  6tab  Stradella  during  his  next  sing- 
ing performance.  While  they  lie  in  wait  for 
him,  Stradella  sings  the  hymn  of  the  Holy  Vir- 
gin's clemency  towards  sinners  so  touchingly 
that  his  pursuers  cast  their  swords  away  and 
sink  on  their  knees,  joining  in  the  refrain.  Full 
of  astonishment,  Stradella  learns  of  the  danger 
in  which  he  had  been,  but  in  the  end  he  will- 
ingly pardons  not  only  the  banditti  but  also  his 
wife's  uncle,  who,  won  over,  like  the  ruffians,  by 
the  power  of  Stradella's  song,  humbly  asks  for 
the  singer's  friendship,  which  is  granted  to  him. 

The  people  lead  their  favorite  in  triumph  to 
the  festival,  which  he  helps  to  glorify  with  his 
wondrous  voice. 

THE  APOTHECARY 

(LO   SPEZIALE) 
Comic  Opera  by  JOSEF  HAYDN  (1768) 

After  a  sleep  of  125  years  in  the  dust  of  Prince 
Esterhazy's  archives  at  Eisenstadt,  Dr.  Hirsch- 
feld  received  permission  from  Prince  Paul  Ester- 
hazy  of  Galantha  to  copy  the  original  manu- 
script. 

It  is  Dr.  Hirschfeld's  merit  to  have  revived 

21 


The  Standard   Operaglass 

and  rearranged  this  charming  specimen  of  the 
old  master's  genius.  And  again  it  was  Ernst 
Schuch,  the  highly  gifted  director  of  the  Dres- 
den opera,  who  had  it  represented  on  this  stage 
in  1895,  and  at  the  same  time  introduced  it  to 
the  Viennese  admirers  of  old  Haydn  by  some  of 
the  best  members  of  his  company. 

The  music  is  truly  Haydnish,  simple,  naive, 
fresh  and  clear  as  crystal,  and  it  forms  an  oasis 
of  repose  and  pure  enjoyment  to  modern  ears, 
accustomed  to  and  tired  of  the  astonishing  odd- 
ities of  modern  orchestration. 

The  plot  is  simple  but  amusing.  A  young 
man,  Mengone,  has  entered  the  service  of  the 
apothecary  Sempronio,  though  he  does  not  pos- 
sess the  slightest  knowledge  of  chemistry.  His 
love  for  Sempronio's  ward  Grilletta  has  induced 
him  to  take  this  step,  aud  in  the  first  scene  we 
see  him  mixing  drugs,  and  making  melancholy 
reflections  on  his  lot,  which  has  led  him  to  a 
master  who  buries  himself  in  his  newspapers 
instead  of  attending  to  his  business,  and  letting 
his  apprentices  go  on  as  best  they  may. 

Sempronio,  entering,  relates  that  the  plague  is 
raging  in  Eussia;  and  another  piece  of  news, 
that  an  old  cousin  of  his  has  married  his  young 
ward,  is  far  more  interesting  to  him  than  all  his 
drugs  and  pills,  as  he  intends  to  act  likewise 
with  Grilletta.  This  young  lady  has  no  fewer 
than  three  suitors,  one  of  whom,  a  rich  young 

22 


The  Apothecary 

coxcomb,  enters  to  order  a  drug.  His  real  in- 
tention is  to  see  Grilletta.  He  is  not  slow  to 
see  that  Mengino  loves  her  too,  so  he  sends  him 
into  the  drug  kitcheu,  in  order  to  have  Grilletta 
all  to  himself.  But  the  pert  young  beauty  only 
mocks  him,  and  at  Mengino's  return  Yolpino  is 
obliged  to  retire. 

Alone  with  Mengino,  Grilletta  encourages  her 
timid  lover,  whom  she  likes  very  much,  but  just 
when  he  is  about  to  take  her  hand,  Sempronio 
returns,  furious  to  see  them  in  such  intimacy. 
He  sends  Mengino  to  his  drugs  and  the  young 
girl  to  her  account  books,  while  he  buries  him- 
self once  more  in  the  study  of  his  newspapers. 
Missing  a  map,  he  is  obliged  to  leave  the  room. 
The  young  people  improve  the  occasion  by  mak- 
ing love,  and  when  Sempronio,  having  lost  his 
spectacles,  goes  to  fetch  them,  Mengino  grows 
bolder  and  kisses  Grilletta.  Alas,  the  old  man 
returns  at  the  supreme  moment  and,  full  of 
rage,  sends  them  to  their  rooms. 

Mengino's  effrontery  ripens  the  resolution  in 
the  guardian's  breast  to  marry  Grilletta  at  once. 
He  is,  however,  detained  by  Volpino,  who  comes 
to  bribe  him  by  an  offer  from  the  Sultan  to  go 
into  Turkey  as  apothecary  at  court,  war  having 
broken  out  in  that  country.  The  wily  young 
man  insinuates  that  Sempronio  will  soon  grow 
.stone-rich,  and  offers  to  give  him  10,000  ducats 
at  once  if  he  will  give  him  Grilletta  for  his  wife. 

23 


The   Standard   Operaglass 

Sempronio  is  quite  willing  to  accept  the  Sultan's 
proposal,  but  not  to  cede  Grilletta.  So  he  sends 
Mengino  away  to  fetch  a  notary,  who  is  to 
marry  him  to  his  ward  without  delay.  The 
maiden  is  quite  sad,  and  vainly  tortures  her 
brain  how  to  rouse  her  timid  lover  into  action. 
Sempronio,  hearing  her  -sing  so  sadly,  suggests 
that  she  wants  a  husband,  and  offers  her  his  own 
worthy  person.  Grilletta  accepts  him,  hoping 
to  awaken  Mengino's  jealousy  and  to  rouse  him 
to  action.  The  notary  comes,  in  whom  Grilletta 
at  once  recognizes  Volpino  in  disguise.  He  has 
hardly  sat  down,  when  a  second  notary  enters, 
saying  that  he  has  been  sent  by  Mengino,  and 
claiming  his  due.  The  latter  is  Mengino  him- 
self, and  Sempronio,  not  recognizing  the  two, 
bids  them  sit  down.  He  dictates  the  marriage 
contract,  in  which  Grilletta  is  said  to  marry 
Sempronio  by  her  own  free  will,  besides  making 
over  her  whole  fortune  to  him.  This  scene,  in 
which  the  two  false  notaries  distort  every  word 
of  old  Sempronio's,  and  put  each  his  own  name 
instead  of  the  guardian's,  is  overwhelmingly 
comical.  When  the  contract  is  written,  Sem- 
pronio takes  one  copy,  Grilletta  the  other,  and 
the  whole  fraud  is  discovered.  Volpino  van- 
ishes, but  Mengino  promises  Grilletta  to  do  his 
best  in  order  to  win  her. 

In  the  last  scene  Sempronio  receives  a  letter, 
from  Volpino,  telling  him  that  the  Pasha  is  to 

24 


Armida 

come  with  a  suite  of  Turks  to  buy  all  his  medi- 
cines at  a  high  price,  and  to  appoint  him  sol- 
emnly as  the  Sultan's  apothecary.  Volpino  in- 
deed arrives,  with  his  attendants,  all  disguised 
as  Turks,  but  he  is  again  recognized  by  Grilletta. 
He  offers  his  gold,  and  seizes  Grilletta's  hand, 
to  carry  her  off,  but  Sempronio  interferes.  Then 
the  Turks  begin  to  destroy  all  the  pots  and  glasses 
and  costly  medicines,  and  when  Sempronio  re- 
sents this  the  false  Pasha  draws  his  dagger,  but 
Mengino  interferes  and  at  last  induces  the  fright- 
ened old  man  to  promise  Grilletta  to  him  if  he 
succeeds  in  saving  him  from  the  Turks.  No 
sooner  is  the  promise  written  and  signed,  than 
Grilletta  tears  off  the  Pasha's  false  beard  and 
reveals  Volpino,  who  retires  baffled,  while  the 
false  Turks  drink  the  young  couple's  health  at 
the  cost  of  the  two  defeated  suitors. 

ARMIDA 

Grand  heroic  Opera  in  five  acts  by  GLUCK 
Text  by  PHIL.  QUINAULT 

The  poet  Quinault  wrote  the  libretto  of  this 
opera  for  another  composer,  Lully,  but  almost 
one  hundred  years  later,  Gluck,  recognizing  the 
genuine  richness  of  this  French  production, 
availed  himself  of  it  for  an  opera  the  music  of 
which  is  so  sublime  that  it  will  for  ever  be  con- 
sidered classic. 

25 


The  Standard   Operaglass 

The  libretto  is  founded  on  an  episode  of  Tas- 
so's  "  Gerusalemme  liberata." 

The  scene  is  laid  in  Damascus,  where,  during 
the  Crusade  of  the  year  1099,  the  Crusaders 
have  arrived  at  the  place  and  gardens  of  Armida, 
the  Queen  and  enchantress.  Rinaldo,  the  great- 
est hero  in  Godfrey  of  Bouillon's  army,  is  the 
only  one  who  not  only  does  not  stoop  to  adore 
the  beautiful  Armida,  but,  on  the  contrary,  pur- 
sues and  hates  her.  He  has  been  banished  from 
Bouillon's  presence,  charged  with  the  rash  deed 
of  another  knight,  who  has  not  dared  to  confess 
his  guilt,  and  he  now  wanders  lonely  in  the  forest. 

Warned  by  a  fellow- warrior,  Artemidor,  to 
avoid  Armida's  enchanting  presence,  he  scorns 
the  warning,  saying  that  love  for  a  woman  is  to 
him  a  thing  unknown.  In  reality,  however,  Ar- 
mida is  already  ensnaring  him  with  her  sorcery; 
he  presently  hears  exquisitely  sweet  and  dreamy 
melodies  and,  finding  himself  in  a  soft,  green 
valley,  he  lies  down  and  falls  asleep. 

Armida's  opportunity  has  come,  and  she  means 
to  stab  him,  but  love  conquers  hatred,  and  the 
dagger  falls  from  her  hand.  She  vainly  in- 
vokes the  furies  of  hate;  none  can  change  her 
passion  for  the  hero,  and  at  last,  ceasing  to  strive 
against  her  tender  feelings,  she  surrenders  her- 
self entirely  to  him,  and  even  succeeds  by  her 
charms  and  her  devotion  in  enthralling  him. 
Meanwhile  Bouillon  has  sent  two  of  his  knights, 

26 


Der  Waffenschmied 

Ubalt  and  a  Danish  warrior,  to  recall  Rinaldo  to 
his  duty.  They  are  detained  by  Armida's  witch- 
ery; the  Danish  knight  meets  a  demon,  who  has 
taken  his  bride's  face,  and  tenderly  calls  him  to 
her,  but  Ubalt  destroys  the  charm  and  both  suc- 
ceed in  approaching  Rinaldo,  who,  his  love- 
dream  dissipated  by  the  call  of  honor,  resolves 
to  return  to  the  army  with  his  companions.  In 
vain  Armida  tries  to  change  his  resolution.  In 
despair  she  curses  him  and  her  love,  but,  being 
unable  to  kill  the  man  she  loves,  she  suffers  him 
to  go  away  and  turns  her  beautiful  palace  and 
gardens  into  a  desert. 

DEE  WAFFENSCHMIED 

(THE  ARMORER) 

Comic  Opera  in  three  acts  by  ALBERT  LORTZING 
Text  by  himself 

Though  this  opera  does  not  equal  in  value 
Lortzing's  "Czar  and  Zimmermann,"  it  has 
nevertheless  proved  an  admirable  addition  to 
the  operatic  repertory.  It  is  attractive  both  on 
account  of  the  freshness  of  its  melodies  and  the 
popular  character  of  its  music  and  text. 

The  scene  is  located  in  "Worms,  in  the  16th 
century.  The  Count  of  Liebeuau  has  fallen  in 
love  with  Mary,  the  daughter  of  a  celebrated 
armorer,  named  Stadinger,  and  in  order  to  win 

27 


The  Standard  Operaglass 

her,  he  wooes  her  at  first  in  his  own  rank  as 
Count,  then  in  the  guise  of  a  smith-journey- 
man, named  Conrad.  Mary,  who  cannot  per- 
mit herself  to  think  of  love  in  connection  with  a 
person  of  such  a  position  as  a  Count,  neverthe- 
less pities  him  and  at  last  confesses,  blushing, 
that  she  loves  the  poor  smith  Conrad.  Inwardly 
triumphant,  the  Count  pretends  to  be  jealous. 
But  father  Stadinger,  who  more  than  once 
showed  the  door  to  the  Count,  will  not  accept 
either  of  the  suitors,  the  Count  standing  too 
high  above  him,  and  his  journeyman,  Conrad, 
being  too  bad  a  laborer,  though  he  has  once 
saved  Mary's  life. 

In  order  to  withdraw  her  from  the  reach  of 
her  lovers,  the  armorer  resolves  to  wed  his  daugh- 
ter to  his  second  journeyman,  George,  who  is  no 
other  than  the  Count's  valet.  Stadinger  is  de- 
termined to  present  him  as  Mary's  bridegroom 
on  the  occasion  of  a  festival  which  is  to  take 
place  in  the  course  of  the  afternoon,  and  at 
which  Stadinger 's  jubilee  as  master  of  armorers 
is  to  be  celebrated.  In  vain  George  refuses  his 
consent  to  this  proposal.  He  is  at  length  obliged 
to  inform  the  Count,  and  the  latter  feigns  to  as- 
sault Stadinger's  house.  But  it  is  of  no  avail; 
the  old  citizen,  more  firm  than  ever,  denies  him 
his  child  again,  and  as  George  decidedly  refuses 
to  marry  his  daughter,  he  gives  her  at  last  to 
Conrad.     Great  is  Mary's  surprise,  and  her  fa- 

28 


Ballo  in   Maschera 

ther's  wrath,  when  they  discover  that  the  Count 
and  simple  Conrad  are  one  and  the  same  person, 
but  at  last  the  old  father  yields,  and  the  lovers 
receive  his  benediction. 

BALLO   m  MASCHERA 

or 

GUSTAVUS   THE   THIRD 

Grand  historic  Opera  in  five  acts  by  AUBER 
Text  by  SCRIBE 

This  opera  has  had  a  curious  fate,  its  histor- 
ical background  having  excited  resistance  and 
given  rise  to  scruples.  The  murder  of  a  king 
was  not  thought  a  fit  subject  for  an  opera,  and 
so  the  libretto  was  altered  and  spoilt. 

The  Italians  simply  changed  the  names  and 
the  scene  of  action;  Verdi  composed  a  new  opera 
from  the  same  matter  and  succeeded  admirably; 
nevertheless  Auber's  composition  is  preferred  in 
Germany,  Scribe's  libretto  being  by  far  the  bet- 
ter, while  the  music  is  original  and  vivacious,  as 
well  as  full  of  pleasant  harmony  and  fine  instru- 
mentation. 

The  scene  is  laid  in  Stockholm  in  the  year 
1792.  Gustavus  the  Third,  King  of  Sweden, 
loves  the  wife  of  his  friend  and  counsellor  An- 
karstrdm,  and  is  loved  in  return,  both  strug- 
gling vainly  against  this  sinful  passion.     An- 

29 


The  Standard   Operaglass 

karstrom  has  detected  a  plot  against  the  King's 
life,  and,  warning  him,  asks  that  the  traitor  be 
punished,  but  Gustavus  refuses  to  listen,  trust- 
ing in  his  people  and  in  his  friend's  fidelity. 
His  minister  Kaulbart  desires  him  to  condemn 
a  sorceress  named  Arvedson,  who  is  said  to  be 
able  at  will,  by  means  of  certain  herbs  and  po- 
tions, to  cause  persons  to  love  or  hate  each  other. 
The  King  refuses  to  banish  the  Avoman  unheard 
and  decides  to  visit  her.  Ankarstrom  tries  to 
dissuade,  but  the  King  insists,  and  accordingly 
goes  to  Arvedson  in  disguise.  During  the 
witch's  conjuration,  Malwina,  his  lady-love,  ap- 
pears, who  seeks  help  from  the  sorceress  against 
her  forbidden  passion.  The  concealed  King 
hears  Arvedson  tell  her  to  go  at  midnight  and 
gather  a  herb  which  grows  on  the  graves  of 
criminals,  and,  triumphant  in  his  knowledge  of 
Malvvina's  confessed  love,  Gustavus  decides  to 
follow  her  there. 

When  she  has  gone  he  mockingly  orders  the 
witch  to  tell  him  his  fortune,  and  hears  from 
her  that  he  shall  be  killed  by  the  man  who  first 
tenders  him  his  hand.  Just  then  Ankarstrom, 
who  comes  to  protect  the  King  against  his 
enemy,  enters,  and  they  shake  hands. 

In  the  third  act  Malwina  meets  the  King  on 
the  dismal  spot  to  which  she  had  been  directed, 
but  Ankarstrom,  whose  watchful  fidelity  never 
suffers  him  to  be  far  from  the  King,  and  who  is 

30 


Ballo  in  Maschera 

utterly  ignorant  of  the  deception  being  practised 
upon  him,  saves  the  lovers  from  further  guilt. 
After  a  severe  conflict  with  himself,  Gustavus 
consents  to  fly  in  his  friend's  cloak,  Ankarstrom 
having  pledged  his  honor  not  to  ask  the  veiled 
lady's  secret,  and  to  conduct  her  safely  back  to 
the  city.  This  plan  is  frustrated  by  the  con- 
spirators, who  rush  in  and  are  about  to  attack 
the  Count.  Malwina  throws  herself  between 
him  and  the  combatants,  and  the  husband  then 
recognizes  in  the  King's  companion  his  own 
wife.  Full  of  indignation,  he  turns  from  her 
and  joins  the  conspirators,  promising  to  be  one 
of  them. 

He  swears  to  kill  his  unhappy  wife,  but  not 
until  another  has  first  fallen. 

In  the  fourth  act  the  conspirators  have  a 
meeting  in  Ankarstrom's  house,  where  they  de- 
cide to  murder  the  King.  The  lots  being  cast, 
the  duty  to  strike  the  deathblow  falls  on  An- 
karstrom, and  Malwina  herself  draws  the  fatal 
paper.  At  this  moment  an  invitation  to  a 
masked  ball  is  brought  by  the  King's  page  Os- 
car, and  the  conspirators  resolve  to  take  advan- 
tage of  this  opportunity  for  the  execution  of 
their  design. 

In  the  last  act  the  King,  happy  to  know  Mal- 
wina safe  from  discovery,  resolves  to  sacrifice  his 
love  to  honor  and  friendship.  He  is  about  to 
give  Ankarstrom  the  proof  of  his  friendship,  by 

3i 


The  Standard  Operaglass 

naming  him  Governor  of  Finland,  and  the  min- 
ister is  to  depart  with  his  wife  on  the  morning 
after  the  hall.  Meanwhile  the  King  is  warned, 
by  a  missive  from  an  unknown  hand,  not  to  ap- 
pear at  the  ball,  but  he  disregards  it.  He  meets 
Malwina  at  the  ball.  His  page,  thinking  to  do 
the  King  a  service,  has  betrayed  his  mask  to 
Ankarstrom.  Malwina  warns  the  prince,  but  in 
vain,  for,  while  he  presents  her  with  the  paper 
which  is  to  send  her  and  her  husband  to  their 
own  beloved  country,  Ankarstrom  shoots  him 
through  the  heart.  G-ustavus  dies,  pardoning 
his  murderer. 


BALLO  m  MASCHEKA 

A  Lyric  Drama  in  five  acts  by  VERDI 
Text  by  F.  M.  PIAVE 

Auber's  success  with  the  opera  of  the  same 
name  inspired  Verdi  to  try  his  hand  at  it.  He 
ordered  his  friend  Piave  to  write  the  libretto 
for  him,  and  in  1854  the  opera  was  handed  to 
the  San  Carlo  Theatre  in  Naples,  but  was  refused 
on  the  ground  that  the  murder  of  a  king  must 
not  be  represented  on  the  stage.  Then  Verdi 
laid  the  scene  in  Boston,  and  in  this  shape  the 
opera  was  performed  in  Kome  on  Feb.  17,  1859, 
and  met  with  great  success. 

From  this  time  it  conquered  the  stages  of  Eu- 

32 


Ballo  in  Maschera 

rope,  all  but  one,  Auber's  widow  having  stipu- 
lated that  no  opera  rival  to  that  of  her  husband's 
was  to  be  given  in  Paris.  The  Ballo  in  Maschera 
was  revived  in  Dresden  in  October,  1897,  after 
having  lain  buried  for  over  fifteen  years  ;  its 
success  showed  that  it  is  still  full  of  vitality. 
The  music  is  exceedingly  fresh  aud  character- 
istic; indeed  it  p"~passes  both  Trovatore  and 
Rigoletto  in  beauty  and  originality.  Verdi  has 
scarcely  ever  written  anything  finer  than  the 
ensemble  at  the  end  of  the  second  act,  and  the 
delightful  quartetto  "  Is  it  a  jest  or  madness, 
that  comes  now  from  her  lips?  " 

The  libretto  may  be  explained  shortly,  as  it  is 
almost  identical  with  Auber's  Masked  Ball. 

Count  Richard,  Governor  of  Boston,  is  adored, 
by  the  people,  but  hated  by  the  noblemen,  who 
resolve  upon  his  death.  He  loves  Amelia,  the 
wife  of  his  secretary  and  best  friend  Rene,  who 
in  vain  tries  to  warn  him  of  the  plots  of  his 
enemies,  but  who  faithfully  watches  over  his 
safety. 

An  old  sorceress  of  negro  blood,  Ulrica,  is  to 
be  banished  by  the  decree  of  the  high  judge, 
but  Richard's  page  Oscar  speaks  in  her  favor, 
and  the  Count  decides  to  see  her  himself  and 
test  her  tricks.  lie  invites  his  lords  to  accom- 
pany him  to  the  sibyl's  dwelling,  and  orders 
Oscar  to  bring  him  a  fisherman's  disguise.  His 
enemies  Samuel  and  Tom  follow  him. 
3  33 


The  Standard   Operaglass 

The  second  act  shows  Ulrica  in  her  cottage, 
seated  at  a  table,  conjuring  Satan.  A  crowd  of 
people  are  around,  her,  amongst  them  Richard 
in  disguise.  A  sailor,  Sylvan,  advances  first  to 
hear  his  fate,  and  while  Ulrica  is  prophesying 
that  better  days  await  him,  Richard  slips  a  roll 
of  gold,  with  a  scroll  into  Sylvan's  pocket  and 
so  makes  the  witch's  words  true.  Sylvan,  search- 
ing in  his  pockets,  finds  the  gold  and  reads  the 
inscription  on  the  scroll:  "  Richard  to  his  dear 
officer  Sylvan,"  and.  all  break  out  into  loud 
praises  of  the  clever  sibyl. 

A  short  while  after  a  servant  announces 
Amelia,  and  the  sorceress,  driving  the  crowd 
away,  ushers  her  in,  while  Richard,  conceals  him- 
self. He  listens  with  delight  to  the  confession 
of  her  siuful  love  for  himself,  against  which  she 
asks  for  a  draught  which  might  enable  her  to 
banish  it  from  her  heart.  Ulrica  advises  her  to 
pluck  at  midnight  a  magic  herb  which  grows 
in  the  field  where  the  criminals  are  executed. 
Amelia  shudders,  but  promises  to  do  as  she  is 
bidden,  while  Richard  secretly  vows  to  follow 
and  protect  her.  Amelia  departs,  and  the  peo- 
ple flock  in  again.  Richard  is  the  first  to  ask 
what  is  his  fate.  The  sibyl  reluctantly  tells 
him  that  his  life  is  to  be  destroyed  by  the  first 
person  who  shall  touch  his  hand  on  this  very  day. 
Richard  vainly  offers  his  hand  to  the  bystanders, 
they  all  recoil  from  him,  when  suddenly  his 

34 


Ballo  in   Maschera 

friend  Rene  comes  in,  and  heartily  shakes  Rich- 
ard's outstretched  hand.  This  seems  to  break 
the  spell,  for  everybody  knows  Rene  to  be  the 
Count's  dearest  friend,  and  now  believes  the 
oracle  to  be  false.  Xevertheless  Ulrica,  who 
only  now  recognizes  the  Count,  warns  him  once 
more  against  his  enemies,  but  he  laughs  at  her, 
and  shows  the  sorceress  the  verdict  of  her  ban- 
ishment, which,  however,  he  has  cancelled.  Full 
of  gratitude,  Ulrica  joins  in  the  universal  song 
of  praise  sung  by  the  people  to  their  faithful 
leader. 

The  third  act  opens  on  the  ghostly  field  where 
Amelia  is  to  look  for  the  magic  1"  3rb.  She  is 
frozen  with  horror,  believing  tha  she  sees  a 
ghost  rise  before  her;  Richard  n^v  turns  up, 
and  breaks  out  into  passionate  words,  entreating 
her  to  acknowledge  her  love  for  him.  She  does 
so,  but  implores  him  at  the  same  time  not  to 
approach  her,  and  to  remain  true  to  his  friend. 
While  they  speak  Rene  surprises  them.  He  has 
followed  Richard  to  save  him  from  his  enemies, 
who  are  waiting  to  kill  him.  Richard  wraps 
himself  in  his  friend's  cloak,  after  having  taken 
Reno's  promise  to  lead  the  veiled  lady  to  the 
gates  of  the  town  without  trying  to  look  at  her. 
Rene  swears,  but  fate  wills  it  otherwise,  for 
hardly  has  Richard  departed  when  the  con- 
spirators throng  in,  and,  enraged  at  finding  only 
the  friend,  try  to  tear  the  veil  off   the  lady's 

35 


The  Standard   Operaglass 

face.  Rene  guards  her  with  his  sword,  but 
Amelia,  springing  between  the  assailers,  lets  fall 
her  veil,  and  reveals  her  face  to  her  husband 
and  to  the  astonished  men,  thereby  bringing 
shame  and  bitter  mockery  on  them  both.  Rene, 
believing  himself  betrayed  by  wife  and  friend, 
asks  the  conspirators  to  meet  him  in  his  own 
house  on  the  following  morning,  and  swears  to 
avenge  the  supposed  treachery. 

In  the  fourth  act,  in  his  own  house,  Rene  bids 
his  wife  prepare  herself  for  death.  He  disbe- 
lieves in  her  protest  of  innocence,  but  at  last, 
touched  by  her  misery,  he  allows  her  to  take  a 
last  farewell  of  her  son.  When  she  is  gone  he 
resolves  rather  to  kill  the  seducer  than  his  poor 
weak  wife.  When  the  conspirators  enter  he 
astonishes  them  by  his  knowledge  of  their  dark 
designs,  but  they  wonder  still  more  when  he 
offers  to  join  them  in  their  evil  purpose.  As 
they  do  not  agree  who  it  shall  be  that  is  to  kill 
Richard,  Rene  makes  his  wife  draw  the  lot  from 
a  vase  on  the  table.  The  chosen  one  is  her  own 
husband.  At  this  moment  Oscar  enters  with 
an  invitation  to  a  masked  ball  from  the  court. 
Rene  accepts,  and  the  conspirators  decide  to 
seize  the  opportunity  to  put  their  foe  to  death. 
They  are  to  wear  blue  dominoes  with  red  rib- 
bons; their  password  is  "death." 

The  next  scene  shows  a  richly  decorated  ball- 
room.    Rene  vainly  tries  to  find  out  the  Count's 

36 


The   Barber  of  Bagdad 

disguise,  until  it  is  betrayed  to  him  by  the  page, 
who  believes  that  Rene  wants  to  have  some  fun 
with  his  master.  Amelia,  waylaying  Richard, 
implores  him  to  fly,  and  when  he  disbelieves  her 
warnings  bIiows  him  her  face.  When  he  rec- 
ognizes her  he  tenderly  takes  her  hand,  and 
tells  her  that  he  too  has  resolved  to  conquer  his 
passion,  and  that  he  is  sending  her  away  to  Eng- 
land with  her  husband.  They  are  taking  a  last 
farewell,  but,  alas,  fate  overtakes  Richard  in  the 
shape  of  Rene,  who  runs  his  dagger  through 
him.  The  crowd  tries  to  arrest  the  murderer, 
but  the  dying  Count  waves  them  back  and  with 
his  last  breath  tells  his  unhappy  friend  that  his 
wife  is  innocent.  Drawing  forth  a  document 
and  handing  it  to  Rene,  the  unfortunate  man 
reads  the  Count's  order  to  send  them  to  their 
native  country.  Richard  pardons  his  misguided 
friend  and  dies  with  a  blessing  on  his  beloved 
country. 

THE  BAKBER  OF   BAGDAD 

Comic  Opera  in  two  acts  by  PETER  CORNELIUS 

It  was  a  long  time  before  this  charming  lit- 
tle opera  took  its  place  amongst  so  many  fellow 
operas  much  less  entitled  to  notice.  The  com- 
poser had  died  15  years  previously,  without  hav- 
ing gained  the  success  he  so  fully  deserved  as 
poet  as  well  as  composer. 

37 


The  Standard   Operaglass 

Liszt,  the  great  redeemer  of  many  a  tried 
genius,  brought  the  opera  upon  the  stage  on  the 
15th  of  December,  1858,  in  Weimar. 

But  the  Intendant  Dingelstedt  was  against 
him;  the  opera  proved  an  entire  failure,  though 
it  was  meant  more  as  demonstration  against 
Liszt  than  against  the  opera.  Liszt,  tired  of 
these  disgraceful  intrigues,  quitted  Weimar, 
only  to  return  there  from  time  to  time  in  pri- 
vate. With  his  abdication,  Weimar's  glorious 
time  was  passed.  In  1889  at  last  the  Barber  of 
Bagdad  took  its  rightful  place  after  many  years 
of  oblivion. 

Munich,  Mannheim  and  Vienna  came  first, 
and,  the  music  having  been  enthusiastically  ap- 
plauded, Dresden  followed  the  good  example  in 
October,  1890.  The  music  is  full  of  sweet  mel- 
ody, the  composition  masterfully  set.  Its  comic 
parts  are  not  quite  natural,  but  the  lyric  is  al- 
most classical,  and  the  text,  written  by  the  com- 
poser himself,  though  lacking  in  action,  shows 
that  Cornelius  was  a  true  poet  as  well  as  a  true 
musician. 

The  scene  takes  place  in  Bagdad,  in  the  house 
of  a  wealthy  young  Mussulman  called  Nurredin. 
He  is  lying  on  a  couch,  surrounded  by  his  ser- 
vants, who  think  him  dying.  But  it  is  only 
the  flame  of  love  which  devours  his  strength 
and  deprives  him  of  all  energy.  As  soon  as 
Bostana,  an  old  relative  and  companion  of  his 

38 


The  Barber  of  Bagdad 

lady-love,  appears,,  in  order  to  tell  him  that  Mar- 
giaua,  his  adored,  .is  willing  to  receive  him, 
Nurredin  forgets  his  illness  and  only  longs  for 
the  promised  interview.  The  ensuing  duet  be- 
tween him  and  Bostana,  wherein  she  gives  in- 
struction about  time  and  hour  of  the  rendez- 
vous, is  delightfully  fresh  and  piquant. 

As  Nurredin  has  neglected  his  personal  ap- 
pearance during  his  malady  his  first  wish  is  for 
a  barber,  who  is  speedily  sent  to  him  by  Bos- 
tana. This  old  worthy,  Abul  Hassan  Ali  Ebe 
Bekar,  the  barber,  makes  him  desperate  by  his 
vain  prattle.  Having  solemnly  saluted  Nur- 
redin,  he  warns  him  not  to  leave  the  house  to- 
day, as  his  horoscope  tells  him  that  his  life  is  in 
danger.  The  young  man  not  heeding  him,  Abul 
Hassan  begins  to  enumerate  all  his  talents  as 
astrologer,  philologer,  philosopher,  etc. ;  in  short, 
he  is  everything  and  knows  everything.  When 
ISurredin  orders  him  to  begin  his  shaving  he 
relates  the  fate  of  his  six  brothers,  who  all  died 
before  him  and  always  of  love.  At  last  Nur- 
redin's  patience  giving  way,  he  calls  his  ser- 
vants in  to  throw  the  old  dotard  out  of  doors. 
But  Abul  drives  them  all  back,  and  Nurredin 
tries  to  pacify  him  with  flattery,  and  finally  suc- 
ceeds. 

Now  Abul  is  curious,  as  all  barbers  are,  and 
having  heard  Nurredin's  sighs  he  determines 
to  find  out  all  about  the  young  man's  love.    This 

39 


The  Standard  Operaglass 

scene  is  most  ludicrous,  when  Abul  sings  his  air 
'' Margiana,"  which  name  he  has  heard  from 
Nurrediu's  lips,  and  the  latter  is  in  despair  at 
being  left  with  only  one  side  of  his  head  shaved. 
This  great  work  done  at  last,  Abul  wants  to 
accompany  the  young  lover  to  the  house  of  the 
Cadi  Baba  Mustapha,  Margiana's  father.  Nur- 
redin  again  summons  his  servants,  who  begin  to 
surround  Abul,  pretending  to  doctor  him.  Nur- 
redin  escapes,  but  Abul,  after  having  shaken  off 
the  servants,  runs  after  him. 

The  second  act  takes  place  in  the  Cadi's  house. 

Margiana  is  full  of  sweet  anticipation,  while 
her  father,  who  has  already  chosen  a  husband 
for  his  daughter  in  the  person  of  an  old  friend 
of  his  youth,  shows  her  a  large  trunk  full  of 
gifts  from  the  old  bridegroom.  Margiana  ad- 
mires them  obediently.  A  musical  scene  of  sur- 
passing beauty  follows,  where  we  hear  the  call 
of  the  Muezzin  summoning  the  faithful  to 
prayer.  It  is  also  the  sign  for  Nurrediu  to  ap- 
pear. The  Cadi  hurries  to  the  Mosque,  and 
Bostana  introduces  the  lover.  Here  ensues  a 
charming  love-duet,  accompanied,  originally 
enough,  by  a  song  from  the  old  barber,  who 
watches  before  the  house.  Suddenly  they  are 
interrupted  by  cries  of  alarm,  and  with  dismay 
they  learn  from  Bostana  that  the  Cadi  has  re- 
turned to  punish  a  slave  who  has  broken  a  pre- 
cious vase. 

40 


The   Barber  of  Bagdad 

Nurredin,  unable  to  escape  unobserved,  is 
hidden  in  the  big  trunk.  Meanwhile  Abul, 
having  heard  the  slave's  cries,  and  mistaking 
them  for  Xurredin's,  summons  the  latter's  ser- 
vants and  breaks  into  the  Cadi's  house  to  avenge 
his  young  friend,  whom  he  believes  to  be  mur- 
dered. Bostana  angrily  bids  him  carry  away  the 
trunk,  signifying  to  him  whom  she  has  hidden 
in  it,  but  the  Cadi  intervenes,  believing  the  ser- 
vants to  be  thieves  who  want  to  rob  his  daugh- 
ter's treasure.  The  rumor  of  the  murder  grad- 
ually penetrates  the  whole  town;  its  inhabitants 
gather  before  the  house,  and  the  appointed 
wailing  women  mingle  their  doleful  lamenta- 
tions with  the  general  uproar.  At  last  the  Calif 
himself  appears  in  order  to  settle  the  quarrel. 

The  Cadi  accuses  the  barber  of  theft,  while 
Abul  calls  the  Cadi  a  murderer.  To  throw  light 
upon  the  matter  the  Calif  orders  the  trunk  to 
be  opened,  which  is  done'with  great  hesitation 
by  Margiana.  When  the  lid  gives  way,  Nurredin 
is  lying  in  it  in  a  deep  swoon.  All  are  terrified, 
believing  him  to  be  murdered,  but  Abul,  ca- 
ressing him,  declares  that  his  heart  still  throbs. 
The  Calif  bids  the  barber  show  his  art,  and  Abul 
wakens  Nurredin  by  the  love-song  to  Margiana. 
The  young  man  revives,  and  the  truth  dawns 
upon  the  deceived  father's  mind.  The  Calif,  a 
very  humane  and  clement  prince,  feels  great  sym- 
pathy with  the  beautiful  young  couple,  and  ad- 

41 


1  he  Standard  Operagiass 

vises  the  Cadi  to  let  his  daughter  have  her  treas- 
ure, because  he  had  told  them  himself  that  it 
was  Margiana's  treasure,  kept  hidden  in  the 
trunk. 

The  Cadi  consents,  while  the  Calif  bids  the 
funny  barber  come  to  his  palace  to  entertain 
him  with  his  stories,  and  invites  all  present  to 
the  wedding  of  the  betrothed  pair,  to  the  great 
satisfaction  of  the  people,  who  sing  their  Salaam 
Aleikum  in  praise  of  their  prince — a  brilliant 
finale,  full  of  energy  and  melody. 

IL  BAKBIEKE   DI  SE^VIGLIA 

Comic  Opera  in  two  acts  by  ROSSINI 

This  opera  may  be  called  a  miracle  of  Ros- 
sini's creation,  as  it  not  only  is  his  best  work 
but  was  written  by  him  in  a  fortnight,  a  per- 
formance nearly  incredible,  for  the  music  is  so 
finely  worked  out,  and  so  elegant,  that  the  opera 
has  grown  to  be  a  favorite  with  all  nations. 

The  subject,  taken  from  Beaumarchais's  witty 
trilogy  of  "Figaros,"  had  ere  this  lent  inspira- 
tion to  more  than  one  composer ;  Mozart's 
"  Figaro,"  though  done  before  the  "  Barbiere," 
is  in  a  certain  sense  the  continuation  of  Ros- 
sini's opera. 

The  Barbiere  had  the  peculiar  misfortune  to 
experience  an  utter  reverse  on  the  occasion  of 

42 


II   Barbiere  di   Seviglia 

its  first  representation.  It  was  composed  for 
the  Duke  Cesarini,  proprietor  of  the  Argentina 
Theatre  in  Home,  and  the  cabals  and  intrigues 
of  Paesiello's  partisans  (who  had  composed  the 
same  subject)  turned  the  balance  in  Rossini's 
disfavor.  But  on  the  second  evening  good  taste 
prevailed,  and  since  then  the  opera  has  been  a 
universal  favorite. 

Beaumarchais's  tale  was  worked  out  anew  by 
the  Roman  poet  Sterbini;  in  our  opera  it  runs 
as  follows: 

Count  Almaviva  is  enamored  of  Rosina,  the 
ward  of  Doctor  Bartolo.  She  is  most  jealously 
guarded  by  the  old  man,  who  wishes  to  make 
her  his  own  wife.  In  vain  the  Count  serenades 
her;  she  does  not  appear,  and  he  must  needs  in- 
vent some  other  means  of  attaining  his  object. 
Making  the  acquaintance  of  the  lighthearted 
and  cunning  barber  Figaro,  the  latter  advises 
hi  in  to  get  entrance  into  Bartolo's  house  in  the 
guise  of  a  soldier  possessing  a  billet  of  quarter- 
ing for  his  lodgings.  Rosina  herself  has  not 
failed  to  hear  the  sweet  love-songs  of  the  Count, 
known  to  her  only  under  the  simple  name  of 
Lindoro;  and  with  southern  passion,  and  the 
lightheadedness  which  characterizes  all  the 
persons  who  figure  in  this  opera,  but  which  is 
not  to  be  mistaken  for  frivolity,  Rosina  loves 
her  nice  lover,  and  is  willing  to  be  his  own. 
Figaro  has  told  her  of  Almaviva's  love,  and  in 

43 


The  Standard   Operaglass 

return  she  gives  him  a  note,  which  she  has  writ- 
ten in  secret.  But  the  old  Doctor  is  a  sly  fox, 
he  has  seen  the  inky  little  finger,  and  deter- 
mines to  keep  his  eyes  open. 

When  the  Couut  appears  in  the  guise  of  a 
half-drunken  dragoon  the  Doctor  sends  Eosina 
away,  and  tries  to  put  the  soldier  out  of  the 
house,  pretending  to  have  a  license  against  all 
billets.  The  Count  resists  and,  while  Bartolo 
seeks  for  his  license,  makes  love  to  Rosina,  but 
after  the  Doctor's  return  there  arises  such  an 
uproar  that  all  the  neighbors  and  finally  the 
guards  appear,  who  counsel  the  Count  to  retire 
for  a  time. 

In  the  second  act  the  Count  gaius  entrance  to 
Bartolo's  house  as  a  singing-master  who  is 
deputed  to  give  a  lesson  instead  of  the  fever- 
stricken  Basil io.  Of  course  the  music  lesson  is 
turned  into  a  love  lesson. 

When  all  seems  to  be  going  well  the  real 
Maestro,  Basilio,  enters  and  all  but  frustrates 
their  plans.  With  gold  and  promises  Figaro 
bribes  him  to  retreat,  and  the  lovers  agree  to 
flee  on  the  coming  night. 

Almost  at  the  last  moment  the  cunning  of 
Bartolo  hinders  the  projected  elopement.  He 
shows  a  letter,  which  Rosina  has  written,  and 
makes  Rosina  believe  that  her  lover,  whom  she 
only  knows  as  Lindoro,  in  concert  with  Figaro 
is  betraying  her  to  the  Count.    Great  is  her  joy 

44 


Benvenuto  Cellini 

when  she  detects  that  Lindoro  and  Count  Alma- 
viva  are  one  and  the  same  person,  and  that  he 
loves  her  as  truly  as  ever.  They  bribe  the  old 
notary  who  has  been  sent  for  by  Bartolo  to  ar- 
range his  own  (Bartolo's)  wedding  with  Eosina. 
Bartolo  signs  the  contract  of  marriage,  with 
Figaro  as  witness,  and  detects  too  late  that  he 
has  been  duped,  and  that  he  has  himself  united 
the  lovers.  At  last  he  submits  with  pretty  good 
grace  to  the  inevitable,  and  contents  himself 
with  Rosina's  dowry,  which  the  Count  gener- 
ously transfers  to  him. 


BENVENUTO   CELLINI 

Opera  in  three  acts  by  HECTOR  BERLIOZ 

Text  by  de  WAILLY  and  BARBIER,  translated  into  German  by 
PETER  CORNELIUS 

This  opera  by  the  spirited  French  musician 
has  had  a  singular  fate.  Composed  more  than 
forty  years  ago,  it  never  had  in  France  the  success 
it  merited;  a  "  succes  d'estime"  was  the  only 
result.  Liszt,  who  was  the  saviour  of  many  a 
talented  straggler,  was  the  first  to  recognize  the 
genius  of  the  French  composer.  He  brought 
the  opera  out  upon  the  stage  at  Weimar,  but 
without  much  success.  Berlioz  was  not  under- 
stood by  the  public.  Devrient,  in  Carlsruhe, 
tried  a  similar  experiment  and  failed,  and  so  the 

45 


The  Standard  Operaglass 

opera  was  almost  forgotten,  until  Germany,  re- 
membering the  duty  owed  to  genius,  of  what- 
ever nationality  it  may  be,  placed  it  upon  the 
stage  in  Dresden,  on  the  4th  of  November,  1888, 
under  the  leadership  of  one  of  the  ablest  of 
modern  interpreters  of  music,  Director  Schuch. 
Its  representation  was  a  triumph.  Though 
Berlioz  can  in  nowise  be  compared  with  Wag- 
ner, whose  music  is  much  more  realistic  and 
sensual,  Wagner  may  nevertheless  be  said  to 
have  opened  a  path  for  Berlioz's  style,  which, 
though  melodious,  differs  widely  from  that  of 
the  easy-flowing  Italian  school,  beiug  more  seri- 
ous, as  well  as  more  difficult  for  the  musical 
novice  to  understand.  This  explains  why  Ber- 
lioz's compatriots  esteemed  but  never  liked  him; 
he  was  too  scientific.  To-day  our  ears  and  un- 
derstanding are  better  prepared  for  striking  in- 
tervals and  complicated  orchestration,  which 
latter  is  the  most  brilliant  feature  in  the 
opera. 

Indeed  the  instrumentation  is  simply  perfect, 
the  choruses  are  masterpieces  of  originality,  life 
and  melody,  and  the  rhythm,  with  its  syncopes, 
is  so  remarkable  that  one  is  more  than  justified 
in  calling  the  style  unique;  it  is  Berlioz  and  no 
other. 

The  text  is  far  less  good  than  the  music, 
though  the  hero,  whose  life  Goethe  found 
worthy  of  description  in  the  24th  and  25th  vol- 

46 


Benvenuto  Cellini 

ume  of  his  works,  might  well  interest  The 
libretto  is  by  no  means  strictly  historical,  and 
suffers  from  improbabilities  which  can  only  be 
excused  in  an  opera. 

The  tale  is  laid  in  Rome  in  the  year  1532,  un- 
der Pope  Clement  VII.,  and  comprises  the  events 
of  three  days,  Monday  before  Shrove-tide, 
Sh rove-Tuesday  and  Ash- Wednesday.  Ben- 
venuto Cellini,  the  Tuscan  goldsmith,  has  been 
called  to  Rome  by  the  Pope,  in  order  to  em- 
bellish the  city  with  his  masterpieces.  He  loves 
Teresa,  the  daughter  of  the  old  papal  treasurer 
Balducci,  and  the  love  is  mutual.  At  the  same 
time  another  suitor,  Fieramosca,  the  Pope's 
sculptor,  is  favored  by  her  father.  Old  Bal- 
ducci grumbles  in  the  first  scene  at  the  Pope's 
predilection  for  Cellini,  declaring  that  such  an 
excellent  sculptor  as  Fieramosca  ought  to  suffice. 
He  goes  for  a  walk,  and  Cellini  finds  Teresa 
alone.  To  save  her  from  Fieramosca  he  plans 
an  elopement,  selecting  the  close  of  the  Carni- 
val as  the  time  best  suited  for  carrying  out 
their  design.  The  rendezvous  is  to  be  the 
Piazza  di  Colonna,  where  he  will  wait  for  her, 
disguised  as  a  monk  in  white,  accompanied  by 
a  Capuchin,  his  pupil  Ascanio.  Unhappily  the 
rival  Fieramosca  has  entered  unseen,  and  over- 
heard all.  The  ensuing  terzetto  is  a  master- 
piece. While  the  lovers  are  bidding  each  other 
farewell    Balducci    returns ;     and    Cellini    has 

47 


The  Standard   Operaglass 

scarcely  time  to  hide  behind  the  window-cur- 
tain before  he  enters.  The  father  is  surprised  to 
find  his  daughter  still  up,  and  Teresa,  seeking 
for  an  excuse  to  send  him  away,  feigns  to  be 
frightened  by  a  thief  in  her  chamber.  There 
Balducci  finds  the  hapless  Fieramosca  hidden, 
and  Cellini  meanwhile  escapes.  Balducci  and 
his  daughter  calling  for  help,  all  the  female  ser- 
vants and  women  of  the  neigbborhood  appear 
armed  with  brooms  and  wooden  spoons.  They 
fall  upon  the  hapless  lover,  and  finally  force  bim 
to  escape  through  the  window. 

In  the  second  act  we  find  Cellini  in  a  tavern 
with  his  pupils  and  friends.  They  have  no 
money  left  to  pay  for  their  wine,  when  Ascanio 
brings  gold  from  the  Pope,  which,  however,  he 
only  delivers  after  Cellini  has  given  a  solemn 
promise  to  finish  at  once  the  statue  of  Perseus 
he  is  engaged  upon.  Great  is  the  general  wrath 
when  they  find  the  money  consists  of  but  a  paltry 
sum,  and  they  resolve  to  avenge  themselves  on 
the  avaricious  treasurer,  Balducci,  by  personat- 
ing him  in  the  theatre.  Fieramosca,  who  has 
again  been  eavesdropping,  turns  for  help  to  his 
friend  Pompeo,  a  bravo.  And  they  decide  to 
outwit  Cellini,  by  adopting  the  same  costumes 
as  he  and  his  pupil. 

The  scene  changes  ;  we  see  the  Piazza  di 
Colonna  and  the  theatre  in  which  the  panto- 
mime of  King  Midas  is  acted.     Balducci,  who  is 

48 


Benvenuto   Cellini 

there  with  his  daughter  among  the  spectators, 
recognizes  in  the  snoring  King  a  portrait  of 
himself,  and  furiously  advances  to  grapple  with 
him.  Cellini  profits  by  the  ensuing  tumult  to 
approach  Teresa,  but  at  the  same  time  Fiera- 
mosca  comes  up  with  Pomjieo,  and  Teresa  can- 
not discern  which  is  the  true  lover,  owing  to  the 
masks.  A  fight  ensues,  in  which  Cellini  stabs 
Pompeo.  He  is  arrested,  and  Teresa  flies  with 
the  Capuchin  Ascanio  to  Cellini's  atelier.  The 
enraged  people  are  about  to  lynch  the  murderer, 
when  three  cannon  shots  are  fired  announcing 
that  it  is  Ash-Wednesday;  the  lights  are  extin- 
guished, and  Cellini  escapes  in  the  darkness. 

The  third  act  represents  Cellini's  atelier  with 
the  workmen  in  it.  Teresa,  not  finding  her 
lover,  is  in  great  distress.  Ascanio  consoles  her, 
and  when  the  Miserere  of  the  Penitents  is  heard 
both  join  in  the  prayer  to  the  Holy  Virgin. 

Suddenly  Cellini  rushes  in,  and,  embracing 
Teresa,  relates  that  he  fled  the  night  before  into 
a  house.  A  procession  of  penitent  monks  pass- 
ing by  in  the  morning  he  joined  them,  as  their 
white  cowls  were  similar  to  his  own  disguise. 
He  decides  to  escape  at  once  to  Florence  with 
Teresa,  but  is  already  pursued  by  Balducci,  who 
appears  with  Fieramosca  and  insists  on  his 
daughter's  returning  and  marrying  the  latter. 
At  this  moment  the  Cardinal  Salviati  steps  in 
to  look  for  the  statue.     He  is  highly  indignant 

4  49 


The  Standard   Operaglass 

that  Cellini,  thoughtless  like  all  artists,  has  not 
kept  his  promise.  Hearing  him,  moreover,  ac- 
cused hy  Balducci,  he  threatens  severe  punish- 
ment, and  finally  declares  that  Perseus  shall  be 
cast  by  another.  Cellini,  in  the  pride  of  genius 
and  full  of  rage,  seizes  a  hammer,  and,  sur- 
rounded by  his  workmen,  declares  that  he  will 
rather  destroy  his  work  than  see  it  finished  by 
another. 

The  Cardinal,  overcome  by  fear  of  the  loss, 
changes  his  tactics,  and,  in  compliance  with  Cel- 
lini's request,  promises  him  full  pardon  and 
Teresa's  hand  if  he  finishes  Perseus  in  an 
hour's  time,  as  Cellini  offers  to  do.  Should  he 
fail  in  his  gigantic  task,  his  life  will  be  forfeit. 
All  set  to  work  at  once;  even  Fieramosca,  at 
the  Cardinal's  request,  assists.  More  and  more 
metal  is  demanded;  Cellini  sacrifices  all  his 
masterpieces  in  gold  and  silver.  At  last  the 
casting  is  completed,  Cellini  breaks  the  mould, 
and  the  statue  of  Perseus  shines  faultlessly  forth, 
a  wonder  of  art,  a  thing  of  glory,  bringing  im- 
mortality to  its  maker.  All  present  bend  before 
the  greatness  of  genius,  and  Fieramosca,  the 
rival  in  art  and  love,  is  the  first  to  kiss  and  em- 
brace Cellini,  who  obtains  full  pardon  and  the 
hand  of  Teresa,  along  with  her  father's  blessing. 


50 


By   Order  of  His   Highness 

BY   ORDER   OF   HIS  HIGHNESS 

(AUF  HOHEN  BEFEHL) 

Comic  Opera  in  three  acts  by  CARL  REINECKE 

Text  by  the  composer  after  KIEHL's  novel  :  "  Ovidius  at  Court  " 

Reinecke  of  Leipzig  is  known  both  as  excel- 
lent pianist  and  composer  of  no  ordinary  talent. 
The  Dresden  theatre  has  been  one  of  the  first  to 
put  the  new  opera  upon  its  boards,  and  with  re- 
gard to  the  music  the  expectations  entertained 
have  been  fully  realized. 

It  is  true  music,  melodious  and  beautiful. 
Reinecke's  musical  language,  free,  untrammeled 
and  suggestive,  only  assumes  decided  form  in 
the  character  of  a  song,  or  when  several  voices 
are  united.  The  instrumentation  is  very  inter- 
esting, and  the  popular  melody  remarkably  well 
characterized. 

So  he  introduces,  for  instance,  the  well-known 
popular  song  "  Kein  Feuer,  keine  Kohle  "  (no 
fire,  no  coal  can  burn)  with  the  most  exquisite 
variations. 

The  libretto  is  not  as  perfect  as  the  music,  be- 
ing rather  improbable. 

A  little  German  residential  capital  of  the  last 
century  forms  the  background  to  the  picture. 

Franz,  the  son  of  the  organist  Ignaz  Laemml, 
introduces  himself  to  Dal  Segno,  the  celebrated 
Italian  singing-master,  as  the  Bohemian  singer 

5i 


The  Standard   Operaglass 

Howora.  He  obtains  lessons  from  the  capricious 
old  man,  who,  however,  fails  to  recognize  in  him 
the  long-absent  son  of  his  old  enemy.  Cornelia, 
Dal  Segno's  daughter,  however,  is  not  so  slow  in 
recognizing  the  friend  of  her  childhood,  who 
loves  her  and  has  all  her  love,  as  we  presently 
learn.  Franz  has  only  taken  the  name  of  Ho- 
wora in  order  to  get  into  favor  with  the  maiden's 
father,  an  endeavor  in  which  he  easily  succeeds, 
owing  to  his  musical  talents. 

Meanwhile  the  Prince  is  determined  to  have 
an  opera  composed  from  Ovid's  Metamorphoses. 
He  has  chosen  Py ramus  and  Thisbe,  but,  as  the 
Princess  is  of  a  very  gay  disposition,  a  request 
is  made  that  the  tragedy  have  a  happy  solution, 
a  whim  which  puts  old  pedantic  Laemml  quite 
out  of  sorts. 

In  the  second  act  Louis,  one  of  the  princely 
lackeys,  brings  a  large  cracknel  and  huge  paper- 
cornet  of  sweets  for  Cornelia,  whom  he  courts, 
and  whose  favor  he  hopes  in  this  way  to  win. 

When  he  is  gone,  Dal  Segno's  sister  Julia, 
lady's  maid  to  the  Princess,  enters  with  birth- 
day-presents for  her  niece  Cornelia,  and,  among 
the  things  which  attract  her  attention,  sees  the 
cracknel,  beside  which  she  finds  a  note  from  her 
own  faithless  lover  Louis.  Filled  with  right- 
eous indignation,  she  takes  it  away. 

Cornelia,  stepping  out  to  admire  her  birthday- 
presents,  meets  Franz,  and,  after  a  tender  scene, 

52 


By   Order  of  His   Highness 

the  young  man  tells  his  lady-love  that  he  lias 
been  fortunate  enough  to  invent  for  his  father 
a  happy  issue  to  the  tragedy  of  Pyramus  and 
Thisbe,  and  that  they  may  now  hope  the  best 
from  the  grateful  old  master. 

Meanwhile  good  old  Laemml  himself  appears 
to  ask  his  old  enemy  Dal  Segno  to  give  singing- 
lessons  to  his  dear  son.  The  Italian  teacher  is 
very  rude  and  ungracious,  Laemml 's  blood  rises 
also,  and  a  fierce  quarrel  ensues,  which  is  inter- 
rupted by  the  arrival  of  the  Prince.  Having 
heard  their  complaints,  he  decides  that  the 
quarrel  is  to  be  settled  by  a  singing  competition 
in  which  Howora,  Dal  Segno's  new  and  greatly 
praised  pupil,  and  Franz,  Laemml's  son,  are  to 
contest  for  the  laurels.  Both  masters  are  con- 
tent, and  decide  on  a  duet  for  tenor  and  soprano. 
This  is  a  happy  choice,  and  Franz,  who,  with 
Cornelia,  has  heard  everything,  causes  his  lady- 
love to  disguise  herself,  in  order  to  play  the 
part  of  Franz,  while  he  decides  to  appear  as 
Howora. 

In  the  third  act  the  Princess  receives  old 
Laemml,  who  comes  to  tell  her  that  he  has  com- 
plied with  her  wishes  as  to  the  happy  issue  of  the 
tale,  and  confides  to  her  his  son's  secret  that 
Franz  and  Howora  are  one  and  the  same  person. 
The  gracious  Princess  promises  her  assistance, 
and  Laemml  leaves  her  very  happy,  dancing  and 
merry-making  with  the  Prince's  fool. 

53 


The  Standard   Operaglass 

In  the  evening  Louis  finds  Julia  attired  in 
Cornelia's  dress,  and  believing  her  to  be  her 
niece  he  places  a  ring  on  her  finger,  and  once 
more  pledges  his  faith  to  his  old  love. 

The  two  singers  perform  their  duet  so  per- 
fectly that  Laemml,  uncertain  who  will  obtain 
the  prize,  begs  for  a  solo.  Each  one  then  sings 
a  popular  song  (Volkslied),  and  all  agree  that 
Howora  has  triumphed.  The  happy  victor  is 
crowned  with  the  laurels.  But  the  Princess, 
touched  by  the  ^weet  voice  of  the  other  singer, 
puts  a  rose  wreath  on  his  brow.  When  the  cap 
is  taken  off  Dal  Segno  perceives  that  the  pre- 
tended Franz  has  the  curls  of  his  own  daughter. 
Howora  being  presented  to  him  as  Laemml's 
son,  he  can  do  no  other  than  yield.  He  em- 
braces old  Laemml  and  gives  his  benediction  to 
the  lovers. 

CAELO  BEOSCHI 

or 

THE   DEVIL'S   PAET 

Comic  Opera  in  three  acts  by  ATJBER 
Text  by  SCRIBE 

This  composition  might  rather  be  called  a 
vaudeville,  with  musical  accompaniment,  than 
an  opera.  The  music  is  not  above  mediocrity, 
though  we  find  many  pleasing   and   even   ex- 

54 


Carlo  Broschi 

quisite  melodies  in  it.  That  it  has  held  its  pres- 
ent place  on  the  stage  for  the  past  forty  years  is 
due  principally  to  its  excellent  libretto,  which 
is  full  of  comical  and  ingenious  situations.  The 
principal  role  is  given  to  Carlo  Broschi.  He  is 
no  other  than  the  famous  singer  Farinelli,  who, 
as  a  matter  of  fact,  did  heal  a  Spanish  King  from 
madness,  though  it  was  not  Ferdinand  IV.,  hut 
his  predecessor,  Philip  V.,  the  husband  of  Eliza- 
beth of  Ferrara.  Notwithstanding  these  anach- 
ronisms, the  libretto  ranks  with  the  best. 

Carlo  Broschi  has  placed  his  only  sister  Casil- 
da  in  a  convent  near  Madrid,  to  save  her  from 
the  persecutions  of  the  clergy,  who  have  been 
trying,  for  reasons  of  their  own,  to  give  the  beau- 
tiful maiden  to  the  King.  Casilda  confesses  to 
her  brother  that  she  is  in  love  with  an  unknown 
cavalier,  who  entertains  a  like  passion  for  her, 
but  Carlo,  a  poor  minstrel,  considers  that  his 
sister,  a  milliner,  does  not  stand  high  enough  in 
the  social  scale  to  permit  a  lawful  union  with  a 
nobleman. 

Carlo  meets  the  King  accidentally.  He  has 
fallen  into  deep  melancholy,  and  Carlo  succeeds 
in  cheering  him  by  singing  an  old  romance, 
which  he  learnt  from  his  mother.  Both  King 
and  Queen  are  full  of  gratitude,  and  Carlo  soon 
finds  himself  at  court,  and  loaded  with  honors. 
In  his  new  position  he  meets  with  Raphael 
d'Estuniga,  Casilda'e  lover. 

55 


The  Standard  Operaglass 

In  despair  at  having  lost  his  lady-love  he  is 
about  to  appeal  to  the  Devil  for  help,  when 
Carlo  appears,  presenting  himself  as  Satan. 
He  promises  his  help  on  condition  that  Eaphael 
shall  give  him  one-half  of  all  his  winnings. 
This  is  a  condition  easily  accepted,  and  Eaphael 
is  made  a  court  official  through  Carlo's  influ- 
ence. 

Meanwhile  the  clergy  vainly  try  to  ensnare  the 
King  again;  Carlo  is  like  his  better  self;  be  dis- 
perses his  sire's  melancholy  by  singing  to  him, 
and  rekindles  his  interest  in  government. 

Raphael,  feeling  quite  secure  in  his  league 
with  the  Devil,  begins  to  play;  he  is  fortunate, 
but  Carlo  never  fails  to  claim  his  share,  which 
is  willingly  surrendered  to  him. 

All  at  once  Casilda  appears  on  the  scene  to 
put  herself  under  the  protection  of  her  brother, 
the  priests  having  found  out  her  refuge.  She 
recognizes  the  King,  and  tells  her  brother  that 
it  was  he  to  whom  she  was  taken  against  her 
will.  The  King  believes  her  to  be  a  ghost,  and 
his  reason  threatens  to  give  way,  but  Carlo  as- 
sures him  that  the  girl  is  living.  The  Queen, 
who  knows  nothing  of  her  husband's  secret, 
here  interrupts  the  conversation  and  bids  Carlo 
follow  her. 

Meanwhile  Raphael  and  Casilda  have  an  in- 
terview, but  the  King  comes  suddenly  upon 
them  and  at  once  orders  Raphael  to  be  put  to 

56 


Carmen 

death,  the  latter  having  failed  in  the  reverence 
due  to  his  sovereign.  Raphael,  howevey,  trust- 
ing in  the  Devil's  help,  does  not  let  his  spirits 
sink,  and  Carlo  actually  saves  him  by  telling  the 
King  that  Casilda  is  Raphael's  wife. 

But  the  Grand  Inquisitor  succeeds  in  discov- 
ering this  untruth  and  in  exciting  the  King's 
anger  against  his  favorite.  Carlo,  much  em- 
barrassed, obtains  an  interview  with  the  King, 
and,  confessing  the  whole  truth,  assures  him  that 
the  Queen  knows  as  yet  nothing,  and  implores 
him  to  give  his  thoughts  and  his  affections  once 
more  to  her  and  to  his  country.  The  King, 
touched  to  generosity,  gives  his  benediction  to 
the  lovers,  together  with  a  new  title  for  Raphael, 
who  is  henceforth  to  be  called  Count  of  Puy- 
cerda.  Now,  at  last,  Raphael  learns  that  the  so- 
called  Devil  is  his  bride's  brother,  who  tells  him 
that  this  time  his  share  lies  in  making  two  lovers 
happy,  a  share  which  gives  him  both  pleasure 
and  content. 

CABMEN 

Opera  in  four  acts  by  GEORGE  BIZET 

This  opera  is  essentially  Spanish.  The  music 
throughout  has  a  southern  character,  and  is  pas- 
sionate and  original  to  a  high  degree. 

Carmen,  the  heroine,  is  a  Spanish  gipsy,  fickle 
and  wayward,  but  endowed  with  all  the  wild 

57 


The  Standard  Operaglass 

graces  of  her  nation.  She  is  adored  by  her  peo- 
ple, and  so  it  is  not  to  be  wondered  at  that  she 
has  many  of  the  stronger  sex  at  her  feet.  She 
is  betrothed  to  Don  Jose,  a  brigadier  of  the 
Spanish  army;  of  course  he  is  one  out  of  many; 
she  soon  grows  tired  of  him,  and  awakens  his 
jealousy  by  a  thousand  caprices  and  cruelties. 

Don  Jose  has  another  bride,  sweet  and  lovely, 
Micaela,  waiting  for  him  at  home,  but  she  is 
forgotten  as  soon  as  he  sees  the  proud  gipsy. 

Micaela  seeks  him  out,  bringing  to  him  the 
portrait  and  the  benediction  of  his  mother,  ay, 
even  her  kiss,  which  she  gives  him  with  blushes.- 
His  tenderness  is  gone,  however,  so  far  as 
Micaela  is  concerned,  as  soon  as  he  casts  one 
look  into  the  lustrous  eyes  of  Carmen.  This 
passionate  creature  has  involved  herself  in  a 
quarrel,  and  wounded  one  of  her  companions,  a 
laborer  in  a  cigarette  manufactory.  She  is  to 
be  taken  to  prison,  but  Don  Jose  lets  her  off, 
promising  to  meet  her  in  the  evening  at  an  inn 
kept  by  a  man  named  Lillas  Pastia,  where  they 
are  to  dance  the  Seguedilla. 

In  the  second  act  we  find  them  there  together, 
with  the  whole  band  of  gipsies.  Don  Jose, 
more  and  more  infatuated  by  Carmen's  charms, 
is  willing  to  join  the  vagabonds,  who  are  at  the 
same  time  smugglers.  He  accompanies  them  in 
a  dangerous  enterprise  of  this  kind,  but  no 
sooner  has  be  submitted  to  sacrifice  love  and 

58 


Carmen 

honor  for  the  gipsy  than  she  begins  to  tire  of 
his  attentions.  Jose  has  pangs  of  conscience, 
he  belongs  to  another  sphere  of  society,  and  his 
feelings  are  of  a  softer  kind  than  those  of  Na- 
ture's unruly  child.  She  transfers  her  affections 
to  a  bull-fighter  named  Escamillo,  another  of 
her  suitors,  who  returns  her  love  more  passion- 
ately. A  quarrel  ensues  between  the  two  rivals. 
Escamillo's  knife  breaks,  and  he  is  about  to  be 
killed  by  Don  Jose,  when  Carmen  intervenes, 
holding  back  his  arm.  Don  Jose,  seeing  that 
she  has  duped  him,  now  becomes  her  deadly  foe, 
filled  with  undying  hatred  and  longing  foi 
revenge. 

Micaela,  the  tender-hearted  maiden,  who  fol- 
lows him  everywhere  like  a  guardian  angel, 
reminds  him  of  his  lonely  mother.  Everybody 
advises  him  to  let  the  fickle  Carmen  alone — 
Carmen  who  never  loved  the  same  man  for  more 
than  six  weeks.  But  in  vain,  till  Micaela  tells 
him  of  the  dying  mother,  asking  incessantly  for 
her  son;  then  at  last  he  consents  to  go  with 
her,  but  not  without  wild  imprecations  on  his 
rival  and  his  faithless  love. 

In  the  fourth  act  we  find  ourselves  in  Mad- 
rid. There  is  to  be  a  bull-fight;  Escamillo,  its 
hero,  has  invited  the  whole  company  to  be 
present  in  the  circus. 

Don  Jose  appears  there  too,  trying,  for  the 
last  time,  to  regain  his  bride.     Carmen,  though 

59 


The  Standard   Operaglass 

warned  by  a  fellow  gipsy,  Frasquita,  knows  no 
fear.  She  meets  her  old  lover  outside  the  arena, 
where  he  tries  hard  to  touch  her  heart.  He 
kneels  at  her  feet,  vowing  never  to  forsake  her, 
and  to  be  one  of  her  own  people,  but  Carmen, 
though  wayward,  is  neither  a  coward  nor  a  liar, 
and  boldly  declares  that  her  affections  are  given 
to  the  bull-fighter,  whose  triumphs  are  borne  to 
their  ears  on  the  shouts  of  the  multitude.  Al- 
most beside  himself  with  love  and  rage,  Jose 
seizes  her  hand  and  attempts  to  drag  her  away, 
but  she  escapes  from  him,  and,  throwing  the 
ring,  Jose's  gift,  at  his  feet,  rushes  to  the  door 
of  the  arena.  He  overtakes  her,  however,  and, 
just  as  the  trumpets  announce  Escamillo's  vic- 
tory, in  a  perfect  fury  of  despair  he  stabs  her 
through  the  heart,  and  the  victorious  bull- 
fighter finds  his  beautiful  bride  a  corpse. 


CAVALLERIA  RUSTICANA 
(SICILIAN  EUSTIC  CHIVALKY) 

Opera   in   one   act   by    PIETRO   MASCAGNI 

Text  after  Verga's  drama  of  the  same  name  by 

TARGIONI-TOZZETTI  and  MENASCI 

The  composer  of  this  very  brief  opera  is  a 
young  man,  who  has  had  a  most  adventurous 
life,    notwithstanding    his    youth.      Son   of   a 

60 


Cavalleria   Rusticana 

baker  in  Livorno,  he  was  destined  for  the  bar* 
But  his  love  for  music  made  him  enter  clan- 
destinely into  the  Institute  Luigi  Cherubini, 
founded  by  Alfreddo  Soffredini.  When  his 
father  heard  of  this,  he  confined  him  in  his 
chamber,  until  Pietro's  uncle  Steffano  prom- 
ised to  care  for  him  in  future.  Pietro  now  was 
enabled  to  study  diligently.  He  composed  at 
the  age  of  13  years  a  small  opera  "  In  filanda," 
which  was  put  on  the  stage  by  Soffredini.  An- 
other composition,  on  Schiller's  poem  "An  die 
Freude "  (To  Joy),  brought  him  money  and 
Count  Larderell's  favor,  who  allowed  him  to 
study  at  his  expense  at  the  Conservatory  at 
Milan.  But  Mascagni's  ambition  suffered  no  re- 
straint, so  he  suddenly  disappeared  from  Milan 
and  turned  up  as  musical  director  of  a  wander- 
ing troupe.  In  Naples  he  grew  ill,  a  young  lady 
nursed  him,  both  fell  in  love  and  she  became  his 
wife.  Hearing  that  Sonzogno  offered  a  prize 
for  the  best  opera,  he  procured  himself  a  li- 
bretto, and  composed  the  Cavalleria  Rusticana  in 
little  more  than  a  week,  and  gained  the  prize. 

Henceforward  all,  of  course,  were  anxious  to 
hear  the  music  of  the  unknown  artist,  and  lo! 
the  opera  was  an  immense  success. 

It  cannot  be  called  a  masterpiece,  yet  it  is 
certainly  the  offspring  of  genius,  as  fresh  and 
as  absolutely  original  as  it  is  highly  dramatic. 

The  text,  though  retaining  little  of  the  ex- 

6l 


The  Standard   Operaglass 

quisite  beauty  of  the  original  drama,  which 
ought  to  be  read  before  hearing  its  fragments 
in  the  opera,  assists  the  music  a  good  deal. 
The  wave  of  human  passion  sweeps  over  it,  pas- 
sion as  it  occurs  in  daily  life,  for  the  compo- 
sition belongs  to  the  realistic  style,  as  far  as  it 
is  based  on  truth  and  reality  alone. 

The  true  local  color  makes  it  doubly  attrac- 
tive. 

The  following  are  the  very  simple  facts  of  the 
story,  which  takes  place  in  a  Sicilian  village. 

Turridu,  a  young  peasant,  has  loved  and  wooed 
Lola  before  entering  military  service.  At  his 
return  he  finds  the  flighty  damsel  married  to 
the  wealthy  carrier  Alfio,  who  glories  in  his 
pretty  wife  and  treats  her  very  well.  Turridu 
tries  to  console  himself  with  another  young 
peasant  girl,  Sautuzza,  who  loves  him  ardently, 
and  to  whom  he  has  promised  marriage. 

The  opera  only  begins  at  this  point. 

Lola,  the  coquette,  however,  cannot  bear  to 
know  that  her  former  sweetheart  should  love 
another  woman.  She  flirts  with  him,  and  be- 
fore the  curtain  has  been  raised,  after  the  over- 
ture, Turridu's  love-song  is  heard  for  Lola,  who 
grants  him  a  rendezvous  in  her  own  house. 

This  excites  Santuzza's  wildest  jealousy.  She 
complains  to  Turridu's  mother,  who  vainly  tries 
to  soothe  her.  Then  she  has  a  last  interview 
with  Turridu,  who  is  just  entering  the  church. 

62 


Cosi  Fan  Tutte 

She  reproaches  him  first  with  his  treachery,  then 
implores  him  not  to  forsake  her  and  leave  her 
dishonored. 

But  Turridu  remains  deaf  to  all  entreaty,  and 
flings  her  from  him.  At  last,  half  mad  through 
her  lover's  stubbornness,  Santuzza  betrays  him 
and  Lola  to  Alfio,  warning  the  latter  that  his 
wife  has  proved  false.  After  church,  Alfio  and 
Turridu  meet  in  mother  Lucia's  tavern.  Alfio 
refusing  to  drink  of  Turridu's  wine,  the  latter 
divines  that  the  husband  knows  alb  The  men 
and  women  leave  while  the  two  adversaries,  after 
Sicilian  custom,  embrace  each  other,  Alfio  biting 
Turridu  in  the  ear,  which  indicates  mortal  chal- 
lenge. Turridu,  deeply  repenting  his  folly,  as 
well  as  his  falseness,  towards  poor  Santuzza, 
recommends  her  to  his  mother.  He  hurries 
into  the  garden,  where  Alfio  expects  him;  a 
few  minutes  later  his  death  is  announced  by  the 
peasants,  and  Santuzza  falls  back  in  a  dead 
swoon;  with  which  the  curtain  closes  over  the 
tragedy. 

COSI   FAN  TUTTE 

Comic  Opera  in  two  acts  by  MOZART 

Text  by  DA  PONTB,  newly  arranged  by  L.  SCHNEIDER  aud 
ED.  DEVRIENT 

This    opera,   though   lovely  in   its  way,   has 
never    had    the    success   which   the  preceding 

63 


The  Standard  Operaglass 

Figaro  and  Don  Juan  attained,  and  this  is  due 
for  the  most  part  to  the  libretto.  In  the  original 
text  it  really  shows  female  fickleness,  and  justi- 
fies its  title.  But  the  more  Mozart's  music  was 
admired,  the  less  could  one  be  satisfied  with 
such  a  libretto.  Schneider  and  Devrient  there- 
fore altered  it  and  in  their  version  the  two 
female  lovers  are  put  to  the  test,  but  midway  in 
the  plot  it  is  revealed  to  them  that  they  are  be- 
ing tried — with  the  result  that  they  feign  faith- 
lessness, play  the  part  out,  and,  at  the  close,  de- 
clare their  knowledge,  turning  the  sting  against 
the  authors  of  the  unworthy  comedy.  The  con- 
tents may  be  told  shortly. 

Don  Fernando  and  Don  Alvar  are  betrothed 
to  two  Andalusian  ladies,  Eosaura  and  Isa- 
bella. 

They  loudly  praise  their  ladies'  fidelity,  when 
an  old  bachelor,  named  Onofrio,  pretends  that 
their  sweethearts  are  not  better  than  other 
women,  and  accessible  to  temptation.  The  lovers 
agree  to  make  the  trial,  and  promise  to  do  every- 
thing which  Onofrio  dictates.  Thereupon  they 
announce  to  the  ladies  that  they  are  ordered  to 
Havana  with  their  regiment,  and,  after  a  ten- 
der leavetaking,  they  depart,  to  appear  again,  in 
another  guise,  as  officers  of  a  strange  regiment. 
Onofrio  has  won  the  ladies'  maid,  Dolores,  to  aid 
in  the  furtherance  of  his  schemes,  and  the  officers 
enter,  beginning  at  once  to  make  love  to  Isabella 

64 


Cosi   Fan  Tutte 

and  Rosaura,  but  each,  as  was  before  agreed,  to 
the  other's  affianced. 

Of  course,  the  ladies  reject  them,  and  the 
lovers  begin  to  triumph,  when  Onofrio  prompts 
them  to  try  another  temptation.  The  strangers, 
mad  with  love,  pretend  to  drink  poison  in  the 
young  ladies'  presence.  Of  course,  these  tender- 
hearted maidens  are  much  aggrieved;  they  call 
Dolores,  who  bids  her  mistresses  hold  the  pa- 
tients in  their  arms;  then,  coming  disguised  as  a 
physician,  she  gives  them  an  antidote.  By  this 
clumsy  subterfuge  they  excite  the  ladies'  pity, 
and  are  nearly  successful  in  their  foolish  en- 
deavors, when  Dolores,  pi  tying  the  cruelly  tested 
women,  reveals  the  whole  plot  to  them. 

Isabella  and  Rosaura  now  resolve  to  enter  into 
the  play.  They  accept  the  disguised  suitors, 
and  even  consent  to  a  marriage.  Dolores  ap- 
pears in  the  shape  of  a  notary,  without  being 
recognized  by  the  men.  The  marriage  contract 
is  signed,  and  the  lovers  disappear,  to  return  in 
their  true  characters,  full  of  righteous  con- 
tempt. Isabella  and  Rosaura  make  believe  to 
be  conscience  stricken,  and  for  a  long  while  tor- 
ment and  deceive  their  angry  bridegrooms.  But 
at  last  they  grow  tired  of  teasing,  they  present 
the  disguised  Dolores,  and  they  put  their  lovers 
to  shame  by  showing  that  all  was  a  farce.  Of 
course,  the  gentlemen  humbly  ask  their  pardon, 
and  old  Onofrio  is  obliged  to  own  himself  beaten. 
5  65 


The  Standard  Operaglass 
THE  CRICKET   ON  THE   HEARTH 

Opera  in  three  acts  by  CARL  GOLDMARK 
Text  after  Dickens's  tale  by  M.  WILLNER 

With  this  opera  Goldmark  has  entered  a  novel 
way  in  composing.  He  has  renounced  all  sen- 
sational effects  and  has  produced  an  opera  which 
is  full  of  charming  melodies,  but  which  lacks 
the  high  dramatic  verve  to  which  we  are  accus- 
tomed from  this  composer;  there  are,  however, 
remarkably  fine  pieces  in  the  whole,  the  best  of 
them  being  Dot's  dancing  song  in  the  second 
act,  the  quintetto  at  the  end  of  it,  and  the  pre- 
lude in  the  third  act,  into  which  Goldmark  has 
interwoven  the  popular  song  "  Weisst  Du,  wie 
viel  Sternlein  stehen." 

The  story  is  soon  told,  as  everybody  is  sup- 
posed to  know  its  contents  from  Dickens's  fa- 
mous fairy-tale.  That  it  is  less  pretty  than  the 
original  is  not  Mr.  Willner's  fault,  who  did  his 
best  to  endue  it  with  dramatic  strength,  and  to 
make  it  more  effective,  an  elevation  to  which 
the  tale  never  aspired,  its  poetic  simplicity  be- 
ing its  great  charm. 

The  scene  is  laid  in  an  English  village. 

The  cricket,  a  little  fairy,  lives  with  a  pos- 
tilion, John,  and  his  wife  Dot.  They  are  a 
happy  couple,  the  only  thing  wanting  to  their 
complete  happiness  being  children,  and   even 

66 


The  Cricket  on  the   Hearth 

this  ardent  wish  Dot  knows  will  be  fulfilled  be- 
fore long. 

A  young  doll-maker,  May,  visits  Dot  to  un- 
burden her  heavy  heart.  The  young  girl  is  to 
marry  her  old  and  rich  employer  Tackleton,  in 
order  to  save  her  foster-father  from  waut,  but 
she  cannot  forget  her  old  sweetheart,  a  sailor 
named  Eduard,  who  left  her  years  ago,  never  to 
come  back.  Dot  tries  to  console  her,  and  gives 
her  food  for  her  old  father.  When  May  has 
taken  leave,  Dot's  husband  John  enters,  bring- 
ing a  strange  guest  with  him. 

It  is  Eduard,  who  has,  however,  so  disguised 
himself  that  nobody  recognizes  him.  Dot  re- 
ceives him  hospitably,  and  while  he  follows  her 
in  another  room,  a  very  lively  scene  ensues,  all 
the  village  people  flocking  in  to  receive  their 
letters  and  parcels  at  John's  hands. 

In  the  second  act  John  rests  from  his  labor 
in  his  garden,  while  Dot,  who  finds  her  hus- 
band, who  is  considerably  older  than  herself, 
somewhat  too  self-confident  and  phlegmatic, 
tries  to  make  him  appreciate  her  more  by  arous- 
ing his  jealousy.  While  they  thus  talk  and  jest, 
May  enters,  followed  by  her  old  suitor,  who  has 
already  chosen  the  wedding-ring  for  her. 
Eduard  listens  to  his  wooing  with  ill-concealed 
anxiety,  and  Tackleton,  not  pleased  to  find  a 
stranger  in  his  friend's  house,  gruffly  asks  his 
name.     The   strange   sailor  tells  him   that   he 

67 


The  Standard  Operaglass 

left  his  father  and  his  sweetheart  to  seek  his 
fortune  elsewhere,  and  that  he  has  come  back, 
rich  and  independent,  only  to  find  his  father 
dead  and  his  sweetheart  lost  to  him.  His  voice 
moves  May  strangely,  but  Tackleton  wants  to 
see  his  riches.  Eduard  shows  them  some  fine 
jewels,  which  so  delight  Dot  that  she  begins  to 
adorn  herself  with  them  and  to  dance  about  the 
room.  Eduard  presents  her  with  a  beautiful 
cross,  and  seizes  the  opportunity  to  reveal  to 
her  his  identity,  entreating  her  not  to  betray 
him.  Then  he  turns  to  May,  begging  her  to 
choose  one  of  the  trinkets,  but  Tackleton  inter- 
feres, saying  that  his  promised  bride  does  not 
need  any  jewels  from  strange  people.  Dot  is 
greatly  embarrassed,  and  Tackleton,  mistaking 
her  agitation,  believes  that  she  has  fallen  in 
love  with  the  sailor,  and  insinuates  as  much  to 
her  husband,  whom  he  invites  to  have  a  glass 
of  beer  with  him. 

This  unusual  generosity  on  the  part  of  the 
avaricious  old  man  excites  the  clever  little  wife's 
suspicion.  May  having  withdrawn,  she  greets 
the  friend  of  her  youth  with  great  ostentation 
(knowing  herself  secretly  watched  by  John  and 
Tackleton),  and  promises  to  help  him  to  regain 
his  sweetheart.  John  and  his  friend,  who  sud- 
denly return,  see  them  together,  and  poor  old 
John  gets  wildly  jealous.  But  when  he  is  alone 
be  falls  asleep,  and  the  faithful  cricket  pro- 

6g 


The  Cricket  on  the   Hearth 

phetically  shows  him  his  wife  fast  asleep  in  a 
dream,  while  a  little  boy  in  miniature  pos- 
tilion's dress  plays  merrily  in  the  background. 

In  the  third  act  Dot  adorns  May  with  the 
bridal  wreath,  but  the  girl  is  in  a  very  sad 
mood.  All  at  once  she  hears  the  sailor  sing; 
Dot  steals  away,  and  May,  vividly  reminded  of 
her  old  love  by  the  song,  decides  to  refuse  old 
Tackleton  at  the  last  moment,  and  to  remain 
true  to  Eduard  until  the  end  of  her  life.  The 
sailor,  hearing  her  resolve,  rushes  in,  tearing  off 
his  false  gray  beard,  and  catches  May,  who  at 
last  recognizes  him,  in  his  arms.  Meanwhile 
Tackleton  arrives  gorgeously  attired ;  he  brings  a 
necklace  of  false  pearls  and  invites  May  to  drive 
with  him  to  the  wedding  ceremony  in  the  church 
at  once.  A  whole  chorus  of  people  interrupt 
this  scene,  however;  they  greet  him,  saying  they 
are  his  wedding  guests,  exciting  the  miser's 
wrath.  At  last  May,  who  had  retired  to  put  on 
her  bridal  attire,  reappears,  but,  instead  of  tak- 
ing Tackleton 's  arm,  she  walks  up  to  Eduard, 
who,  courteously  thanking  the  old  lover  for  the 
carriage  standing  at  the  door,  suddenly  disap- 
pears with  May.  The  chorus  detains  the  furi- 
ous old  Tackleton  until  the  lovers  are  well  out 
of  the  way. 

Meanwhile  Dot  has  explained  her  behavior 
to  John,  and,  whispering  her  sweet  secret  into 
hia  ear,  makes  him  the  happiest  man  on  earth 

69 


The  Standard   Operaglass 

The  cricket,  the  good  fairy  of  the  house, 
chirps  sweetly  and  the  last  scene  shows  once 
more  a  picture  of  faithfulness  and  love. 


CZAK  AND   ZIMMEKMANN 

or 

THE  TWO  PETERS 

Comic  Opera  in  three  acts  by  LORTZING 

This  charming  little  opera  had  even  more 
success  than  Lortzing's  other  compositions;  it 
is  a  popular  opera  in  the  best  sense  of  the  word. 
Lortzing  ought  to  have  made  his  fortune  by  it, 
for  it  was  soon  claimed  by  every  stage.  He  had 
composed  it  for  Christmas,  1837,  and  in  the 
year  1838  every  street  organ  played  its  principal 
melodies.  But  the  directors  paid  miserable 
sums  to  the  lucky  composer.  (For  example,  a 
copy  of  the  work  cost  him  25  thalers,  while  he 
did  not  get  more  than  30  to  50  thalers  from  the 
directors.) 

The  libretto  was  composed  by  Lortzing  him- 
self; he  took  it  out  of  an  old  comedy. 

Peter,  Emperor  of  Russia,  has  taken  service 
on  the  wharfs  of  Saardam  as  simple  ship-car- 
penter under  the  assumed  name  of  Peter 
Michaelow.  Among  his  companions  is  another 
Peter,  named  Ivauow,  a  Russian  renegade,  who 

70 


Czar  and   Zimmermann 

has  fallen  in  love  with  Mary,  the  niece  of  the 
burgomaster  Van  Bett. 

The  two  Peters,  being  countrymen  and  fear- 
ing discover}^,  have  become  friendly,  but  Ivanow, 
instinctively  feeling  his  friend's  superiority,  is 
jealous  of  him,  and  Mary,  a  little  coquette, 
nourishes  his  passion. 

Meanwhile  the  ambassadors  of  France  and 
England,  each  of  whom  wishes  for  a  special 
connection  with  the  Czar  of  Russia,  have  discov- 
ered where  he  must  be,  and  both  bribe  the  con- 
ceited simpleton  Vau  Bett,  who  tries  to  find  out 
the  real  Peter. 

He  assembles  the  people,  but  there  are  many 
Peters  amongst  them,  though  only  two  strangers. 
He  asks  them  whence  they  come,  then  takes 
aside  Peter  Ivanow,  cross-questioning  him  in 
vain  as  to  what  he  wishes  to  know. 

At  last,  being  aware  of  Peter's  love  for  Mary, 
he  gives  him  some  hope  of  gaining  her  hand, 
and  obtains  in  exchange  a  promise  from  the 
young  man  to  confess  his  secret  in  presence  of 
the  foreign  nobleman.  The  cunning  French 
ambassador,  the  Marquis  de  Chateauneuf,  has 
easily  found  out  the  Czar  and  gained  his  pur- 
pose, while  the  phlegmatic  English  Lord,  falsely 
directed  by  the  burgomaster,  is  still  in  trans- 
action witli  Ivanow.  All  this  takes  place  dur- 
ing a  rural  festivity,  where  the  Marquis,  not- 
withstanding the  claims  upon  his  attention,  finds 

7i 


The  Standard   Operaglass 

time  to  court  pretty  Mary,  exciting  Ivanow's 
hate  and  jealousy.  Ivanow  with  difficulty  plays 
the  role  of  Czar,  which  personage  he  is  supposed 
to  be  as  well  by  Lord  Syndham  as  by  Van 
Bett.  He  well  knows  that  he  deserves  punish- 
ment if  he  is  found  out  on  either  side.  The 
burgomaster,  getting  more  and  more  confused, 
and  fearing  himself  surrounded  by  spies  and 
cheats,  examines  one  of  the  strangers  after  the 
other,  and  is,  of  course,  confounded  to  hear  their 
high-flown  names;  at  last  he  seizes  the  two 
Peters,  but  is  deterred  from  his  purpose  by  the 
two  ambassadors.  They  are  now  joined  by  a 
third,  the  Eussian  General  Lefort,  who  comes 
to  call  back  his  sovereign  to  his  own  country. 
In  the  third  act  Van  Bett  has  prepared  a  solemn 
demonstration  of  fealty  for  the  supposed  Czar, 
whom  he  still  mistakes  for  the  real  one,  while 
the  real  Czar  has  found  means  to  go  on  board 
of  his  ship  with  the  Marquis  and  Lefort.  Be- 
fore taking  farewell,  he  promises  a  passport  to. 
Ivanow,  who  is  very  dubious  as  to  what  will  be- 
come of  him.  Meanwhile  Van  Bett  approaches 
him  with  his  procession  to  do  homage,  but  dur- 
ing his  long  and  confused  speech  cannon-shots 
are  heard,  and  an  usher  announces  that  Peter 
Michaelow  is  about  to  sail  away  with  a  large 
crew.  The  background  opens  and  shows  the 
port  with  the  Czar's  ship.  Everybody  bursts 
into  shouts  "Long  live  the  Czar!"  and  Ivan- 

72 


La  Dame   Blanche 

ow,  opening  the  paper  which  his  high-born 
friend  left  to  him,  reads  that  the  Czar  grants 
him  pardon  for  his  desertion  and  bestows  upon 
him  a  considerable  sum  of  money. 


LA  DAME  BLANCHE 

Comic  Opera  in  three  acts  by  BOIELDIEU 
Text  by  SCRIBE 

Boieldieu  is  for  the  French  almost  what 
Mozart  was  for  the  German.  This  opera  espe- 
cially may  be  called  classic,  so  delibeiate  and 
careful  is  its  execution. 

The  "  Lady  in  "White  "  is  the  chef-d'oeuvre  of 
all  comic  operas  in  French,  as  Mozart's  Figaro 
is  in  German.  The  success  of  this  opera,  whose 
composer  and  whose  poet  were  equally  liked  and 
esteemed  in  Paris,  was  enormous,  and  since  then 
it  has  never  lost  its  attraction. 

The  scene  is  laid  in  Scotland,  the  subject  be- 
ing taken  from  "Walter  Scott's  romance  "The 
Monastery." 

George  Brown,  the  hero  of  the  opera,  a  young 
lieutenant  in  English  service,  visits  Scotland, 
lie  is  hospitably  received  by  a  tenant  of  the  late 
Count  Avenel,  who  has  been  dead  for  some 
years.  When  he  arrives  the  baptism  of  the 
tenant's  youngest  child  is  just  being  celebrated, 

73 


The  Standard  Operaglass 

and  seeing  that  they  lack  a  godfather  he  good- 
naturedly  consents  to  take  the  vacant  place. 

Seeing  the  old  castle  of  the  Avenels  he  asks 
for  its  history,  and  the  young  wife  Jenny  tells 
him  that,  according  to  the  traditions  of  the 
place,  it  is  haunted  by  a  ghost,  as  is  the  case  in 
almost  every  old  castle.  This  apparition  is 
called  the  "White  Lady,"  but,  unlike  other 
ghosts,  she  is  good,  protecting  her  sex  against 
fickle  men.  All  the  people  around  believe 
firmly  in  her  and  pretend  to  have  seen  her 
themselves.  In  the  castle  there  exists  a  statue 
which  bears  the  name  of  this  benevolent  genius, 
and  in  it  the  old  Lord  has  hidden  treasures. 
His  steward  Gaveston,  a  rogue,  who  has  taken 
away  the  only  son  of  the  Count  in  the  child's 
earliest  days,  brings  the  castle  with  all  its  acres 
to  public  sale,  hoping  to  gain  it  for  himself. 

He  has  a  charming  ward,  named  Anna.  It  is 
she  who  sometimes  plays  the  part  of  the  White 
Lady.  She  has  summoned  the  young  tenant 
Dickson,  who  is  sincerely  devoted  to  her,  into 
the  castle,  and  the  young  man,  though  full  of 
fear,  yet  dare  not  disobey  the  ghostly  com- 
mands. 

George  Brown,  thirsting  for  a  good  adven- 
ture, and  disbelieving  in  the  ghost-story,  de- 
clares that  he  will  go  in  Dickson's  place. 

In  the  second  act  George,  who  has  found  en- 
trance into  the  castle,  calls  for  the  White  Lady, 

74 


La   Dame    Blanche 

who  appears  in  the  shape  of  Anna.  She  he- 
lieves  that  Dickson  is  before  her,  and  she  reveals 
her  secret  to  him,  imploring  his  help  against 
her  false  guardian  Gaveston,  who  means  to  rob 
the  true  and  only  heir  of  his  property.  She 
knows  that  the  missing  son  of  the  Avenels  is 
living,  and  she  has  given  a  promise  to  the  dying 
Countess  to  defend  his  rights  against  the  rapa- 
cious Gaveston.  George  gives  his  hand  to  the 
pretended  ghost  in  token  of  fidelity,  and  the 
warm  and  soft  hand  which  clasps  his  awakes 
tender  feelings  in  him.  On  the  following  morn- 
ing Dickson  and  his  wife  Jenny  are  full  of  cu- 
riosity about  George's  visit,  but  he  does  not 
breathe  a  word  of  his  secret. 

The  sale  of  the  castle,  as  previously  announced, 
is  to  begin,  and  Dickson  has  been  empowered 
beforehand  by  all  the  neighboring  farmers  to 
bid  the  highest  price,  in  order  not  to  let  it  fall 
into  the  hands  of  the  hateful  Gaveston.  They 
bid  higher  and  higher,  but  at  length  Dickson 
stops,  unable  to  go  farther.  Gaveston  feels  as- 
sured of  his  triumph,  when  George  Brown,  re- 
calling his  vow  to  the  White  Lady,  advances 
boldly,  bidding  one  thousand  pounds  more. 
Anna  is  beside  him,  in  the  shape  of  the  spectre, 
and  George  obediently  bids  on,  till  the  castle  is 
his  for  the  price  of  three  hundred  thousand 
pounds.  Gaveston,  in  a  perfect  fury,  swears  to 
avenge  himself  on  the  adventurer,  who  is  to 

75 


The  Standard  Operaglass 

pay  the  sum  in  the  afternoon.  Should  he  prove 
unable  to  do  so,  he  shall  be  put  into  prison. 
George,  who  firmly  believes  in  the  help  of  his 
genius,  is  quietly  confident,  and  meanwhile 
makes  an  inspection  of  the  castle.  Wandering 
through  the  vast  rooms,  dim  recollections  arise 
in  him,  and  heariug  the  minstrel's  song  of  the 
Avenels,  he  all  at  once  remembers  and  finishes 
the  romance,  which  he  heard  in  his  child- 
hood. 

The  afternoon  comes,  and  with  it  Mclrton, 
the  justice  of  peace.  He  wants  the  money,  and 
George  begs  to  await  the  White  Lady,  who  prom- 
ised her  help.  Anna  appears,  bringing  the 
treasure  of  the  Avenels  hidden  in  the  statue, 
and  with  them  some  documents  which  prove 
the  just  claims  of  Edwin  Count  Avenel.  This 
long-lost  Count  she  recognizes  in  George  Brown, 
whose  identity  with  the  playmate  of  her  youth 
she  had  found  out  the  night  before.  Gaveston 
approaches  full  of  wrath  to  tear  aside  the  ghost's 
white  veil,  and  sees  his  OAvn  ward,  Anna. 

The  happy  owner  of  castle  and  country  holds 
firm  to  the  promise  which  he  gave  the  White 
Lady  and  offers  hand  and  heart  to  the  faithful 
Anna,  who  has  loved  him  from  her  child- 
hood. 


76 


II   Demonio 
IL  DEMONIO 

Fantastic  Opera  in  three  acts  by 
ANTON  RUBINSTEIN 

Text  after  the  Russian  of  ALFRED  OFFERMANN 

This  opera  of  the  great  Russian  musician  has 
an  entirely  national  character.  The  great  feat- 
ures of  Rubinstein's  Avork  are  most  fertile 
imagination  and  an  immense  power  of  expres- 
sion, which,  however,  sometimes  almost  passes 
the  permitted  bounds,  although  the  forms  are 
perfectly  mastered,  and  the  fanciful  subject  is 
well  calculated  to  afford  it  room  for  play.  It  is 
taken  from  the  celebrated  poem  of  Lermontoff, 
and  it  treats  of  the  devices  by  which  Satan  seeks 
to  ensnare  the  immortal  souls  on  earth. 

The  plot  is  laid  in  Grusia,  in  the  Caucasus. 

The  first  scene  represents  a  wild  and  lonely 
country;  in  the  raging  storm  voices  are  heard  of 
good  and  bad  spirits  alternately.  The  Arch- 
Fiend  appears,  weary  of  everything,  even  of  his 
power.  He  curses  the  world;  in  vain  he  is 
warned  by  the  Angel  of  Light  to  cease  his  strife 
against  Heaven;  the  Demon's  only  satisfaction 
lies  in  opposition  to  and  battle  with  all  that  is 
living  and  good. 

He  sees  Tamara,  daughter  of  Prince  (xudal, 
who  expects  her  bridegroom,  the  Prince  of 
Sinodal,  and,  full  of  admiration  for  her  loveli- 

77 


The  Standard   Operaglass 

ness,  he  wooes  her.  Tamara,  frightened,  calls 
her  companions,  and  they  all  return  to  the  cas- 
tle, but  the  words  of  the  stranger,  whom  she 
has  recognized,  by  the  halo  of  light  surrounding 
him,  as  a  being  from  a  higher  world,  vibrate  in 
her  ears:  "  Queen  of  my  love,  thou  shalt  be  the 
Empress  of  Worlds." 

The  following  scene  shows  Prince  Sinodal, 
encamping  for  the  night  with  his  suite;  the 
roughness  of  the  way  has  delayed  his  coming  to 
Tamara.  Near  the  camp  is  a  chapel,  erected  in 
memory  of  one  of  his  ancestors,  who  was  slain 
there  by  a  ruffian,  and  the  Prince's  old  servant 
admonishes  him  to  pray  for  his  soul..  To  his 
destruction,  he  postpones  it  till  morning,  for 
during  his  sleep  the  Demon  brings  up  his 
enemies,  the  Tartars,  and  the  Prince's  caravan 
is  robbed,  and  he  himself  killed. 

In  the  second  act  Tamara  stands  ready  to  re- 
ceive her  bridegroom,  whose  coming  has  been 
announced  to  her  by  a  messenger. 

Tamara's    thoughts    are   with   the   stranger 
though  against  her  will,  when  an  escort  brings 
the  dead  body  of  Sinodal.    While  the  poor  bride 
is  giving  vent  to  her  sorrow,  and  her  fathe"" 
seeks  to  comfort  her  by  offering  religious  con 
solation,  she  again  hears  the  voice  of  the  Demon 
Avhispering  soft  seductions  to  her.     At  last  sir* 
feels  that  her  strength  is  failing  before  a  super 
natural  power,  and  so  she  begs  her  father  to  le 

78 


Djamileh 

her  enter  a  monastery.    After  offering  many  ob 
jections,  he  finally  consents,  for  in   truth  his 
thoughts  are  only  of  avenging  his  children. 

In  the  third  act  the  Demon,  who  really  loves 
Tamara,  and  regrets  his  wickedness,  seeks  tc 
see  her.  The  Angel  of  Light  denies  him  the 
entrance,  which,  however,  he  finally  forces. 
Passionately  he  invokes  Tamara's  pity  and  her 
love,  and  she,  rent  by  unutterable  feelings,  im- 
plores Heaven's  aid,  but  her  strength  gives  way, 
and  the  Demon  embraces  and  kisses  her.  At 
this  moment  the  Angel  of  Light  appears,  and 
Tamara  is  about  to  hasten  to  him,  when,  with  a 
loud  cry,  she  sinks  down  lifeless.  Satan  has 
lost;  despairing  and  cursing  all,  he  vanishes 
and  a  thunder-bolt  destroys  the  cloister,  from 
amid  the  ruins  of  which  the  Angels  bear  the 
poor  love-tortured  Tamara  to  Heaven. 


DJAMILEH 

A  romantic  Opera  in  one  act  by  GEORGES  BIZET 

Text  by  LOUIS  GALLET 

German  Translation  by  LUDWIG  nARTMANN 

Djamileh  was  composed  before  Carmen,  and 
was  given  in  Paris  in  1872.  But  after  the  years 
of  war  and  bloodshed  its  sweetness  was  out  of 
place,  and  so  it  was  forgotten,  until  it  was  re- 
vived  again  in  Germany.     Though  the  text  is 

79 


The  Standard  Operaglass 

meagre,  the  opera  had  great  success  on  the 
stages  of  Berlin,  Leipsic,  Vienna  and  Dresden, 
and  so  its  publisher,  Paul  Choudens  in  Paris, 
was  right  when  he  remarked,  years  ago,  to  a 
German  critic,  "l'AUemagne  un  jour  com- 
prendra  les  beautes  de  Djamileh." 

There  is  no  more  exquisite  music  than  the 
romance  of  the  boatsmen  on  the  Nile,  sung  with 
closed  lips  at  the  opening  of  the  first  scene,  and 
the  ravishing  dance  of  the  Almee,  an  invention 
of  Arabic  origin,  is  so  original,  so  wild  and 
melancholy,  and  yet  so  sweet,  that  it  enchants 
every  musical  ear.  The  plot  is  very  simple  and 
meagre. 

Harun,  a  rich  young  Turk,  has  enjoyed  life  to 
its  very  dregs.  He  gives  dinners,  plays  at  dice, 
he  keeps  women,  but  his  heart  remains  cold  and 
empty;  he  disbelieves  iu  love,  and  only  cares  for 
absolute  freedom  in  all  his  actions,  but  withal 
his  life  seems  shallow  and  devoid  of  interest. 
Every  month  he  engages  a  new  female  slave, 
with  whom  he  idles  away  his  days,  but  at  the 
end  of  this  time  she  is  discarded.  His  an- 
tipathy to  love  partly  arises  from  the  knowl- 
edge of  his  father's  unhappy  married  life. 

At  the  opening  of  the  scene  Harun  lies  on  a 
couch,  smoking,  too  lazy  to  move  a  finger,  and 
lulled  into  dreams  by  the  boatmen's  songs.  At 
last  he  rouses  himself  from  his  lethargy,  and 
tells  his  secretary  and  former  tutor,  Splendiano, 

80 


Djamileh 

of  his  visions.  The  latter  is  looking  over  his 
master's  accounts,  and  now  tells  him  dryly 
that  if  he  continues  his  style  of  living  he  will 
he  ruined  before  the  end  of  the  year.  This 
scarcely  moves  the  young  man,  to  whom  a  year 
seems  a  long  way  off;  he  also  takes  it  coolly 
when  Splendiano  remarks  that  the  latest  fa- 
vorite's month  is  up,  and  that  Djamileh  is  to 
leave  towards  evening,  to  make  room  for  another 
beauty.  Harun  carelessly  charges  his  servant  to 
look  out  for  another  slave.  When  Splendiano 
sees  that  Djamileh' s  unusual  beauty  has  failed 
to  impress  his  master,  he  owns  to  a  tender  feel- 
ing for  her  himself,  and  asks  permission  to  win 
the  girl.  Harun  readily  grants  this  request; 
but  when  he  sees  Djamileh  enter  with  sad  and 
dejected  looks  he  tenderly  inquires  what  ails 
her.  She  sings  him  a  strange  and  melancholy 
"  Ghasel  "  about  a  girl's  love  for  a  hero,  and  he 
easily  guesses  her  secret.  In  order  to  console 
her,  he  presents  her  with  a  beautiful  necklace, 
and  grants  her  her  freedom,  at  which  she  bright- 
ens visibly,  but  refuses  it.  Harun,  however,  has 
no  idea  of  losing  either  heart  or  liberty,  and 
when  some  friends  visit  him  he  turns  from  her, 
to  join  them  in  a  game,  leaving  her  unveiled, 
and  exposed  to  their  insolent  stares  and  admira- 
tion. Djamileh,  covered  with  confusion,  begins 
to  weep,  at  which  Splendiano  interposes,  trying 
to  console  her  by  the  offer  of  his  hand.  Scorn- 
6  81 


The  Standard   Operaglass 

fully  repulsed  by  her,  he  reveals  to  her  the  cruel 
play  of  his  master,  and  her  approaching  dis- 
missal, and  drives  her  almost  to  despair.  But 
she  resolves  to  show  her  love  to  her  master  be- 
fore she  leaves  him,  and  for  this  purpose  entreats 
Splendiano  to  let  her  disguise  herself  and  per- 
sonate the  new  slave;  promising  to  be  his  if 
her  plans  should  fail,  but  vowing  to  herself  to 
choose  death  rather  than  leave  her  beloved  mas- 
ter. The  evening  approaches,  and  with  it  the 
slave-dealer  with  a  whole  bevy  of  beautiful  young 
girls.  Harun  turns  from  them  indifferently, 
ordering  Splendiano  to  choose  for  him,  but  the 
slave-dealer  insists  upon  showing  up  the  pearl  of 
his  flock,  a  young  Almee,  who  dances  the  most 
weird  and  passiouate  figures  until  she  sinks  back 
exhausted.  She  is  selected,  but  Splendiano  gives 
200  zechines  to  the  dealer,  who  consents  to  let 
her  change  her  clothes  with  Djamileh.  When 
the  latter  re-enters  Harun's  room  veiled,  he  is 
astonished  to  find  her  so  shy  and  sad.  In  vain 
he  tries  to  caress  her,  she  escapes  him,  but,  sud- 
denly unveiling  herself,  he  recognizes  her.  With 
wild  and  passionate  entreaty,  she  begs  him  to  let 
her  be  a  slave  again,  as  she  prefers  his  presence 
to  freedom  and  fortune.  At  first  he  hesitates, 
but  true  love  conquers,  and  he  takes  her  in  his 
arms.  He  has  found  his  heart  at  last,  and  owns 
that  love  is  stronger  and  better  than  any  other 

charm. 

82 


Le  Domino  Noir 
LE   DOMINO  NOIR 

Comic  Opera  in  three  acts  by  AUBER 
Text  by  SCRIBE 

This  is  one  of  the  most  charming  comic  operas 
which  were  ever  written  by  this  master.  Grace- 
ful archness  and  elegance  of  style  are  its  char- 
acteristics, and  these  lose  nothing  from  the  pres- 
ence of  a  gay  and  easy  temper  which  makes  itself 
felt  throughout.  The  same  may  be  said  of  the 
libretto. 

The  plot  is  well  worked  out  and  entertaining. 
The  scene  is  laid  in  Madrid  in  our  century. 

The  Queen  of  Spain  gives  a  masked  ball,  at 
which  our  heroine  Angela  is  present,  accom- 
panied by  her  companion  Brigitta.  There  she 
is  seen  by  Horatio  di  Massarena,  a  young  noble- 
man, who  had  met  her  a  year  before  at  one  of 
these  balls  and  fell  in  love  with  her,  without 
knowing  her. 

This  time  he  detains  her,  but  is  again  unable 
to  discover  her  real  name,  and,  confessing  his 
love  for  her,  he  receives  the  answer  that  she 
can  be  no  more  than  a  friend  to  him.  Mas- 
sarena detains  her  so  long  that  the  clock  strikes 
the  midnight  hour  as  Angela  prepares  to  seek 
her  companion.  Massarena  confesses  to  having 
removed  Brigitta  under  some  pretext,  and  An- 

83 


The  Standard   Operaglass 

gela,  in  despair,  cries  out  that  she  is  lost.  She 
is,  in  reality,  member  of  a  convent,  and  destined 
to  be  Lady  Abbess,  though  she  has  not  yet 
taken  the  vows.  She  is  very  highly  connected, 
and  has  secretly  helped.  Massarena  to  advance  in 
his  career  as  a  diplomatist.  Great  is  her  anxiety 
to  return  to  her  convent  after  midnight,  but 
she  declines  all  escort,  and  walking  alone 
through  the  streets  she  comes  by  chance  into 
the  house  of  Count  Juliano,  a  gentleman  of 
somewhat  uncertain  character,  and  Massarena's 
friend.  Juliano  is  just  giving  a  supper  to  his 
gay  friends,  and  Angela  bribes  his  housekeeper, 
Claudia,  to  keep  her  for  the  night.  She  ap- 
pears before  the  guests  disguised  as  an  Arra- 
gonian  waiting-maid,  and  charms  them  all,  and 
particularly  Massarena,  with  her  grace  and  co- 
quetry. But  as  the  young  gentlemen  begin  to 
be  insolent,  she  disappears,  feeling  herself  in 
danger  of  being  recognized.  Massarena,  discov- 
ering in  her  the  charming  black  domino,  is 
very  unhappy  to  see  her  in  such  company. 
Meanwhile  Angela  succeeds  in  getting  the  keys 
of  the  convent  from  Gil-Perez,  the  porter,  who 
had  also  left  his  post,  seduced  by  his  love  of 
gormandizing,  and  had  come  to  pay  court  to 
Claudia.  Angela  troubles  his  conscience,  and 
frightens  him  with  her  black  mask,  and  flies. 
When  she  has  gone,  the  housekeeper  confesses 
that  her  pretended  Arragonian  was  a  stranger, 

84 


Don   Carlos 

by  all  appearance  a  noble  lady,  who  sought  ref- 
uge in  Juliano's  house. 

In  the  third  act  Angela  reaches  the  convent, 
but  not  without  having  had  some  more  adven- 
tures. Through  Brigitta's  cleverness  her  ab- 
sence has  not  been  discovered.  At  length  the 
day  has  come  when  she  is  to  be  made  Lady 
Abbess,  and  she  is  arrayed  in  the  attire  suited  to 
her  future  high  office,  when  Massarena  is  an- 
nounced to  her.  He  comes  to  ask  to  be  relieved 
from  a  marriage  with  Ursula,  Lord  Elfort's 
daughter,  who  is  destined  for  him,  and  who  is 
also  an  inmate  of  the  convent,  but  whom  he 
cannot  love.  "  Notwithstanding  her  disguise,  he 
recognizes  his  beloved  domino,  who,  happily  for 
both,  is  released  by  the  Queen  from  her  high 
mission  and  permitted  to  choose  a  husband. 
Of  course,  it  is  no  other  than  the  happy  Mas- 
sarena; while  Ursula  is  consoled  by  being  made 
Lady  Abbess,  a  position  which  well  suits  her 
ambitious  temper. 

DON  CARLOS 

Opera  in  four  acts  by  VERDI 
Text  by  MERY  and  CAMILLA  DU  LOCLE 

This  opera  is  one  of  the  first  of  Verdi's.  It 
was  half  forgotten,  when  being  suddenly  recalled 
to  the  stage  it  met  with  considerable  success. 

85 


The  Standard   Operaglass 

The  music  is  fine  and  highly  dramatic  in  many 
parts. 

The  scene  of  action  lies  in  Spain.  Don  Car- 
los, Crown  Prince  of  Spain,  comes  to  the  convent 
of  St.  Just,  where  his  grandfather,  the  Em- 
peror Charles  the  Fifth,  has  just  been  buried. 
Carlos  bewails  his  separation  from  his  step- 
mother, Elizabeth  of  Valois,  whom  he  loves  with 
a  sinful  passion.  His  friend,  the  Marquis  Posa, 
reminds  him  of  his  duty,  and  induces  him  to 
leave  Spain  for  Flanders,  where  an  unhappy 
nation  sighs  under  the  cruel  rule  of  King 
Philip's  governors.  Carlos  has  an  interview 
with  the  Queen,  but,  beside  himself  with  grief, 
he  again  declares  his  love,  though  having  re- 
solved only  to  ask  for  her  intervention  with  the 
King  on  behalf  of  his  mission  to  Flanders. 
Elizabeth  asks  him  to  think  of  duty  and  dis- 
misses him.  Just  then  her  jealous  husband  en- 
ters, and  finding  her  lady  of  honor,  Countess 
Aremberg,  absent,  banishes  the  latter  from 
Spain.  King  Philip  favors  Posa  with  his  par- 
ticular confidence,  though  the  latter  is  secretly 
the  friend  of  Carlos,  who  is  ever  at  variance 
with  his  wicked  father.  Posa  uses  his  influ- 
ence with  the  King  for  the  good  of  the  people, 
and  Philip,  putting  entire  confidence  irv  him, 
orders  him  to  watch  his  wife. 

The  second  act  represents  a  fete  in  the  royal 
gardens  at  Madrid,  where  Carlos  mistakes  the 

86 


Don  Carlos 

Princess  Eboli  for  the  Queen  and  betrays  his 
unhappy  love.  The  Princess,  loving  Carlos  her- 
self, and  having  nurtured  hopes  of  her  love  be- 
ing responded  to,  takes  vengeance.  She  pos- 
sesses herself  of  a  casket  in  which  the  Queen 
keeps  Carlos's  portrait,  a  love-token  from  her 
maiden  years,  and  surrenders  it  to  Philip.  The 
King,  though  conscious  of  his  wife's  innocence, 
is  more  than  ever  jealous  of  his  son,  and  seeks 
for  an  occasion  to  put  him  out  of  the  way-  It 
is  soon  found,  when  Carlos  defies  him  at  an  au- 
todafe  of  heretics.  Posa  himself  is  obliged  to 
deprive  Carlos  of  his  sword,  and  the  latter  is  im- 
prisoned. The  King  has  an  interview  with  the 
Grand  Inquisitor,  who  demands  the  death  of 
Don  Carlos,  asserting  him  to  be  a  traitor  to  his 
country.  As  Philip  demurs,  the  priest  asks 
Posa's  life  as  the  more  dangerous  of  the  two. 
The  King,  who  never  loved  a  human  being  ex- 
cept Posa,  the  pure-hearted  Knight,  yields  to 
the  power  of  the  Church. 

In  the  following  scene  Elizabeth,  searching 
for  her  casket,  is  accused  of  infidelity  by  her 
husband.  The  Princess  Eboli,  seeing  the  trouble 
her  mischievous  jealousy  has  brought  upon  her 
innocent  mistress,  penitently  confesses  her  fault 
and  is  banished  from  court.  In  the  last  scene 
of  the  third  act  Carlos  is  visited  by  Posa,  who 
explains«to  him  that  he  has  only  imprisoned 
him  in  order  to  save  him,  and  that  he  has  an- 

87 


The  Standard  Operaglass 

nounced  to  the  King  that  it  was  himself,  Posa, 
who  excited  rebellion  in  Flanders.  While  they 
speak,  Posa  is  shot  by  an  arquebusier  of  the 
royal  guard;  Philip  enters  the  cell  to  present 
his  sword  to  Carlos,  but  the  son  turns  from  his 
father  with  loathing,  and  explains  his  friend'fe 
pious  fraud.  While  Philip  bewails  the  loss  of 
the  best  man  in  Spain,  loud  acclamations  are 
heard  from  the  people,  who,  hearing  that  their 
prince  is  in  danger,  desire  to  see  him. 

In  the  last  act  the  Queen,  who  promised  Posa 
to  watch  over  Carlos,  meets  him  once  more  in 
the  convent  of  St.  Just.  They  are  surprised  by 
the  King,  who  approaches,  accompanied  by  the 
Grand  Inquisitor,  and  into  his  hands  the  un- 
happy Carlos  is  at  last  delivered. 


DON   JUAN" 

Opera  in  two  acts  by  MOZART 
Text  by  DA  PONTE 

Don  Juan  is  Mozart's  most  beautiful  opera; 
we  may  even  say  that  it  is  the  greatest  work  of 
this  kind  which  was  ever  written  by  a  German 
musician.  The  text,  too,  written  by  Mozart's 
friend,  is  far  above  the  level  of  ordinary  opera 
texts.  • 

The  hero,  spoilt  by  fortune  and  blase,  is  ever 

88 


Don  J 


uan 


growing  more  reckless.  lie  even  dares  to  attack 
the  virtue  of  Donna  Anna,  one  of  the  first  ladies 
of  a  city  in  Spain,  of  which  her  father,  an  old 
Spanish  grandee,  also  noble  and  as  strict  in 
virtue  as  Don  Juan  is  oversatiated  and  frivol- 
ous, is  governor.  The  old  father,  coming  for- 
ward to  help  his  beloved  daughter,  with  drawn 
dagger  attacks  Don  Juau,  who,  compelled  to  de- 
fend himself,  has  the  misfortune  to  stab  his 
assailant. 

Donna  Anna,  a  lady  not  only  noble  and  virtu- 
ous but  proud  and  high-spirited,  vows  to  avenge 
her  father's  death.  Though  betrothed  to  a 
nobleman  named  Octavio,  she  will  never  know 
any  peace  until  her  father,  of  whose  death  she 
feels  herself  the  innocent  cause,  is  avenged. 
Her  only  hope  is  death,  and  in  that  she  offers 
the  liveliest  contrast  to  her  betrothed,  who 
shows  himself  a  gentleman  of  good  temper  and 
qualities,  but  of  a  mind  too  weak  for  his  lady's 
high-flown  courage  and  truly  tragic  character. 
Though  Octavio  wants  to  avenge  Donna  Anna's 
father,  he  would  do  it  only  to  please  her.  His 
one  aim  is  marriage  with  her.  Her  passionate 
feelings  he  does  not  understand. 

Don  Juau,  pursued  not  only  by  Donna  Anna 
but  also  by  his  own  neglected  bride,  Donna  El- 
vira, tries  to  forget  himself  in  debauches  and 
extravagances.  His  servant  Leporello,  in  every 
manner  the  real  counterpart  of  his  master,  is  his 

89 


The  Standard   Operaglass 

aider  and  abettor.  A  more  witty,  a  more  amus- 
ing figure  does  not  exist.  His  fine  sarcasm 
brings  Don  Juan's  character  into  bold  relief; 
they  complement  and  explain  each  other. 

But  Don  Juan,  passing  from  one  extravagance 
to  another,  sinks  deeper;  everything  he  tries  be- 
gins to  fail  him,  and  his  doom  approaches.  He 
begins  to  amuse  himself  with  Zerlina,  the  young 
bride  of  a  peasant  named  Masetto,  but  each 
time  when  he  seems  all  but  successful  in  his 
aim  of  seducing  the  little  coquette,  his  enemies, 
who  have  united  themselves  against  him,  inter- 
fere and  present  a  new  foe  in  the  person  of  the 
bridegroom,  the  plump  and  rustic  Masetto.  At 
last  Don  Juan  is  obliged  to  take  refuge  from 
the  hatred,  of  his  pursuers.  His  flight  brings 
him  to  the  grave  of  the  dead  governor,  in  whose 
memory  a  life-size  statue  has  been  erected  in  his 
own  park.  Excited  to  the  highest  pitch  and 
almost  beside  himself,  Don  Juan  even  mocks 
the  dead;  he  invites  him  to  a  supper.  The 
statue  moves  its  head  in  acceptance  of  the  dread- 
ful invitation  of  the  murderer. 

Towards  evening  Donna  Elvira  comes  to  see 
him,  willing  to  pardon  everything  if  only  her 
lover  will  repent.  She  fears  for  him  and.  for  his 
fate,  she  does  not  ask  for  his  love,  but  only  for 
the  repentance  of  his  follies,  but  all  is  in  vain. 
The  half-drunken  Don  Juan  laughs  at  her,  and 
so  she  leaves  him   alone.     Then    the    ghostly 

90 


Don   Pasquale 

guest,  the  statue  of  the  governor,  enters.  He 
too  tries  to  move  his  host's  conscience;  he  fain 
would  save  him  in  the  last  hour.  Don  Juan 
remains  deaf  to  those  warnings  of  a  better  self, 
and  so  he  incurs  his  doom.  The  statue  vanishes, 
the  earth  opens,  and  the  demons  of  hell  devour 
Don  Juan  and  his  splendid  palace. 


DOj*   PASQUALE 

Comic  Opera  in  three  acts  by  DONIZETTI 

Text  done  after  SER  MARCANTONIO 
by  SALVATORE  GAMMERANO 

This  opera,  one  of  Donizetti's  last  compo- 
sitions, is  a  little  jewel  of  the  modern  Italian 
kind.  Its  music  is  sparkling  with  wit  and 
grace,  and  may  rank  among  the  best  comic 
operas,  of  which  we  have  not  too  many.  The 
reason  why  it  does  not  occupy  the  place  on  the 
German  stage  which  is  due  to  its  undoubted 
merit  is  the  somewhat  deficient  German  trans- 
lation of  the  text  book,  and  the  very  small  frame 
in  which  it  plays,  without  any  of  the  dramatic 
pomp  and  decoration  the  people  are  wont  to  see 
in  our  times,  and  finally  it  does  not  occupy  a 
whole  evening,  and  must  needs  have  a  ballet  to 
fill  it  up.     The  four  persons  acting  in  the  play 

91 


The  Standard  Operaglass 

have  excellent  parts  for  good  singers,  as  Doni- 
zetti thoroughly  knew  how  to  treat  the  human 
voice. 

The  Avealthy  old  bachelor  Don  Pasquale  de- 
sires to  marry  his  only  nephew  to  a  rich  and 
noble  lady,  but,  finding  a  hindrance  in  Ernesto's 
love  for  another,  decides  to  punish  his  head- 
strong nephew  by  entering  himself  into  mar- 
riage and  thus  disinheriting  Ernesto. 

His  physician  Malatesta,  Ernesto's  friend, 
pretends  to  have  discovered  a  suitable  partner 
for  him  in  the  person  of  his  (Malatesta's)  sister, 
an  "ingenue,"  educated  in  a  convent  and  ut- 
terly ignorant  of  the  ways  of  the  world. 

Don  Pasquale  maliciously  communicates  his 
intentions  to  the  young  widow  Nbrina,  telling 
her  to  distrust  Malatesta.  The  latter,  however, 
has  been  beforehand  with  him,  and  easily  per- 
suades Norina  to  play  the  part  of  his  (Mala- 
testa's) sister,  and  to  endeavor,  by  the  beauty 
of  her  person  and  the  modesty  of  her  demean- 
or, to  gain  the  old  man's  affections.  Should 
she  succeed  in  doing  so,  Don  Pasquale  and 
Norina  are  to  go  through  a  mock  form  of  mar- 
riage— a  notary,  in  the  person  of  a  cousin 
named  Carlo,  has  already  been  gained  for  the 
purpose — after  which  Norina,  by  her  obstinacy, 
extravagance,  capriciousness  and  coquetry,  is  to 
make  the  old  man  repent  of  his  infatuation  and 
ready  to  comply  with  their  wishes. 

92 


Don   Pasquale 

Urged  on  by  her  love  for  Ernesto,  Norina 
consents  to  play  the  part  assigned  to  her,  and 
the  charming  simplicity  of  her  manners,  her 
modesty  and  loveliness  so  captivate  the  old  man 
that  he  falls  into  the  trap  and  makes  her  an  offer 
of  his  hand.  The  marriage  takes  place,  and 
one  witness  failing  to  appear,  Ernesto,  who 
happens  to  be  near,  and  who  is  aware  of  the 
plot,  is  requested  to  take  his  place.  Besides 
appointing  Norina  heiress  of  half  his  wealth, 
Don  Pasquale  at  once  makes  her  absolute  mis- 
tress of  his  fortune.  Having  succeeded  in  at- 
taining her  aim,  Norina  throws  aside  her  mask, 
and  by  her  self-willedness,  prodigality  and  way- 
wardness drives  her  would-be  husband  to  de- 
spair. She  squanders  his  money,  visits  the 
theatre  on  the  very  day  of  their  marriage,  ignor- 
ing the  presence  of  her  husband  in  such  a  man- 
ner that  he  wishes  himself  in  his  grave,  or  rid 
of  the  termagant  who  has  destroyed  the  peace 
of  his  life.  The  climax  is  reached  on  his  dis- 
covering among  the  accounts,  all  giving  proof  of 
his  wife's  reckless  extravagance,  a  billet-doux, 
pleading  for  a  clandestine  meeting  in  his  own 
garden.  Malatesta  is  summoned,  and  cannot 
help  feeling  remorse  on  beholding  the  wan  and 
haggard  appearance  of  his  friend.  He  recom- 
mends prudence,  advises  Don  Pasquale  to  assist, 
himself  unseen,  at  the  proposed  interview,  and 
then  to  drive  the  guilty  wife  from  the  house. 

93 


The  Standard  Operaglass 

The  jealous  husband,  though  frankly  confessing 
the  folly  he  had  committed  in  taking  so  young 
a  wife,  at  first  refuses  to  listen  to  Malatesta's 
counsel,  and  determines  to  surprise  the  lovers 
and  have  them  brought  before  the  judge. 
Finally,  however,  he  suffers  himself  to  be  dis- 
suaded, and.  leaves  the  matter  in  Malatesta's 
hands. 

In  the  last  scene  the  lovers  meet,  but  Ernesto 
escapes  on  his  uncle's  approach,  who  is  sorely 
disappointed  at  having  to  listen  to  the  bitter  re- 
proaches of  his  supposed  wife,  instead  of  being 
able  to  turn  her  out  of  doors. 

Meanwhile  Malatesta  arrives,  summons  Er- 
nesto, and  in  his  uncle's  name  gives  his  (Don 
Pasquale's)  consent  to  Ernesto's  marriage  with 
Norina,  promising  her  a  splendid  dowry. 

Don  Pasquale's  wife,  true  to  the  part  she  has 
undertaken  to  play,  of  course  opposes  this  ar- 
rangement, and  Don  Pasquale,  too  happy  to  be 
able  to  thwart  his  wife,  hastens  to  give  his  con- 
sent, telling  Ernesto  to  fetch  his  bride.  His 
dismay  on  discovering  that  his  own  wife,  whom 
he  has  only  known  under  the  name  of  Sophronia, 
and  his  nephew's  bride  are  one  and  the  same 
person  may  be  easily  imagined.  His  rage  and 
disappointment  are,  however,  somewhat  dimin- 
ished by  the  reflection  that  he  will  no  longer 
have  to  suffer  from  the  whims  of  the  young 
wife,  who  had  inveigled  him  into  the  ill-assorted 

94 


Donna  Diana 

marriage,  and  he  at  length  consents,  giving  the 
happy  couple  his  blessing. 


DONNA  DIANA 

Comic  Opera  in  three  acts  by  E.  VON  REZNICEK 

Text  after  a  free  translation  of  MORETO'S 
comedy  of  the  same  name 

Many  are  the  authors  who  have  dramatized 
this  old  but  ever  young  and  fresh  comedy,  but 
yet  none  have  so  nearly  reached  the  ideal  as 
this  young  composer.  His  manner  of  inter- 
weaving Spanish  national  airs  is  particularly 
successful,  because  they  tinge  the  piece  with 
peculiar  local  coloring. 

The  Spanish  melodies  are  chosen  with  ex- 
quisite elegance  and  skill. 

Reznicek's  manner  of  composing  is  thor- 
oughly modern;  he  has  learnt  much  from  Wag- 
ner and  Liszt  and  not  least  from  Verdi's  "  Fal- 
staff  ";  nevertheless  he  is  always  original,  fresh 
and  so  amusing,  so  sparkling  with  wit  and 
genius,  that  I  am  tempted  to  call  Donna  Diana 
the  modern  comic  opera  par  excellence.  Some- 
times the  orchestra  is  almost  too  rich  for  More- 
to's  playful  subject,  but  this  is  also  quite  mod- 
ern, and  besides  it  offers  coloristic  surprises  very 
rare  in  comic  operas. 

95 


The  Standard  Operaglass 

In  the  first  act  the  waltz  is  particularly  charm- 
ing; in  the  second  the  ballet  music  and  Flo- 
retta's  song  (im  Volkston)  are  so  beautiful  that 
once  heard  they  can  never  be  forgotten.  The 
bolero-rhythm  and  the  three-eight  measure  are 
typical  of  the  Spanish  style,  which  flows  through 
almost  all  the  songs  and  recitations,  giving  spark- 
ling piquancy  to  the  opera.  In  the  last  act, 
where  love  conquers  intrigue  and  gaiety,  the 
music  reaches  its  culminating  point. 

The  scene  is  laid  in  Don  Diego's  palace  at 
Barcelona  at  the  time  of  Catalonia's  independ- 
ence. 

Don  Cesar,  Prince  of  Urgel,  is  resting  in 
Diego's  hall,  after  having  won  the  first  prize  in 
a  tournament.  He  muses  sadly  on  Donna 
Diana's  coldness,  which  all  his  victories  fail  to 
overcome.  Perrin,  the  clown,  takes  pity  on  him , 
and,  after  having  won  his  confidence,  gives  him 
the  advice  to  return  coldness  for  coldness.  Don 
Cesar  promises  to  try  this  cure,  though  it  seems 
hard  to  hide  his  deep  love.  Floretta,  Donna 
Diana's  foster-sister,  enters  to  announce  the  issue 
of  the  tournament.  She  fain  would  flirt  with 
Perrin,  to  whom  she  is  sincerely  attached,  but 
he  turns  a  cold  shoulder  to  her,  and  lets  her  de- 
part in  a  rage,  though  he  is  over  head  and  ears 
in  love  with  the  pretty  damsel.  The  next  scene 
opens  on  a  brilliant  crowd,  all  welcoming  the 
Count  Sovereign  of  Barcelona  and  his  daughter 

96 


Donna    Diana 

Donna  Diana.    The  Count  accosts  them  gracious- 
ly, and  making  sign  to  the  three  gallant  Princes, 
Don  Cesar  of  Urgel,  Don  Louis  of  Bearne  and 
Gaston  Count  de  Foie,  they  advance  to  receive 
their  laurels  on  bended  knee  from  the  fair  hands 
of  the  Princess,  who  crowns  Cesar  with  a  golden 
wreath,  while  the  two  other  princes  each  win  a 
silver  prize.     When  the  ceremony  is  ended,  Don 
Diego  turns  to  his  daughter,  beseeching  her  to 
give  an  heir  to  the  country  by  selecting  a  hus- 
band, but  Diana  declares   that,   though  she  is 
willing  to  bend  to  her  father's  will,  love  seems 
to  poison  her,  and  marriage  is  death.   Gaston  and 
Louis,  nothing  daunted,  determine  to  try  their 
luck  even  against  the  fair  lady's  will,  and  while 
the  father  prays  to  God,  to  soften  his  daughter's 
heart,  Cesar's  courage  sinks  ever  lower,  though 
Perrin  encourages  him  to  begin  the  farce  at  once. 
Donna  Diana  alone  is  cool  and  calm;  inwardly 
resolved  to  keep  her  hand  and  heart  free,  she  is 
deeply  envied  by  her  two  cousins,  Fenisa  and 
Laura,  who  would  gladly  choose  one  of  the  gal- 
lant warriors.     Perrin  now  advises  the  Princes 
to  try  their  wit  and  gallantry  on  the  Princess, 
and  Don   Diego  consenting  to    his    daughter's 
wish,  that  she  need  only  suffer  their  courtship 
for  a  short  time,  she  coolly  accepts  this  pro- 
posal.    Gaston  begins  to  plead  his  cause,  declar- 
ing that  he  will  not  leave  Barcelona  without  a 
bride,  and  Louis  follows  his  example;  both  are 
7  97 


The  Standard   Operaglass 

greatly  admired,  and  applauded  by  the  assist- 
ants, only  Diana  finds  their  compliments  ridicu- 
lous and  their  wit  shallow.  Cesar,  without  a 
word,  retires  to  the  background,  and.  when  asked 
by  the  Princess  why  he  does  not  compete  with 
his  rivals  answers  "Because  I  will  not  love, 
nor  ever  wish  to  be  loved;  I  only  woo  you  to 
show  you  my  regard."  Greatly  mortified,  Diana 
resolves  to  punish  such  pride  by  subjugating 
him  to  her  charms. 

In  the  second  act  a  fancy  ball  is  going  on  in 
the  Prince's  gardens.  Each  of  the  ladies  has  a 
bunch  of  different  colored  ribbons,  and  decides 
to  get  the  man  she  loves  for  her  own.  Diana 
now  explains  that  each  knight  is  to  choose  a 
color  which  entitles  him  to  own  the  lady  who 
wears  the  same  colors  as  long  as  the  masquer- 
ade lasts.  Don  Louis,  choosing  green,  gets 
Donna  Laura;  Don  Gaston,  wearing  red,  is 
chosen  by  Fenisa;  Perrin,  loudly  asserting  that, 
abhorring  love,  he  chooses  the  obscure  color 
black,  wins  Floretta;  and  Don  Cesar,  choosing 
white,  finds  himself  Donna  Diana's  champion. 
She  takes  his  arm,  and  soon  her  beauty  so  in- 
flames him  that,  forgetting  good  advice  and  pru- 
dence, he  throws  himself  at  her  feet,  confessing 
his  love.  Triumphant,  but  mockingly,  she  turns 
from  him,  and  thereby  suddenly  recalls  his 
pride.  In  a  bantering  tone  he  asks  her  if  she 
really  believed  that  his  love  making,  to  which 

98 


Donna  Diana 

duty  compelled  him  for  the  evening,  was  true? 
Hot  with  wrath  and  shame  at  being  so  easily 
duped,  she  bids  him  leave  her,  and  when  alone 
resolves  to  have  her  revenge.  She  calls  Perrin 
to  fetch  her  cousins,  and  charges  him  to  lei 
Cesar  know  that  he  can  hear  her  sing  in  the 
gardens.  Then  she  is  adorned  with  the  most 
bewitching  garments,  and,  surrounded  by  her  at- 
tendants, begins  to  play  and  sing  most  sweetlv 
as  soon  as  she  hears  Don  Cesar's  steps.  The 
latter  would  have  succumbed  to  the  temptation 
if  he  had  not  been  warned  by  Perrin  not  to 
listen  to  the  siren.  So  they  philander  in  the 
grounds,  admiring  the  plants,  and  to  all  appear- 
ance deaf  to  beauty  and  song.  Impatiently 
Diana  signs  Floretta  to  let  Cesar  know  that  he 
is  in  the  presence  of  his  Princess,  at  which  our 
hero,  like  one  awaking  from  a  dream,  turns,  and 
bowing  to  the  Princess,  and  excusing  himself 
gravely,  disappears,  leaving  Diana  almost  de- 
spairing. 

In  the  third  act  Perrin  gives  vent  to  his 
happy  feelings  about  his  love  for  Floretta,  and 
about  the  Princess,  whose  state  of  mind  he 
guesses.  He  is  delighted  to  see  his  scheme  suc- 
cessful, and  sings  a  merry  air,  which  is  heard 
by  Diana.  Behind  the  scene  Don  Louis  is 
heard,  singing  a  serenale  to  Donn  i  Laura, 
with  whom  he  has  fallen  in  love,  and  on  the 
other  side  Don  Gaston  sings  Fenisa's  praise,  so 

9Q 


The  Standard  Operaglass 

that  poor  Diana,  sinking  back  on  a  sofa,  is  all  at 
once  surrounded  by  loving  couples,  who  shame- 
lessly carry  on  their  courting  before  her  very 
eyes,  and  then  retire,  casting  mischievous  glances 
at  their  disgusted  mistress.  Diana,  who  sees 
Cesar  approaching,  determines  to  try  a  last  ex- 
pedient, in  order  to  humble  his  pride.  Coolly 
she  explains  to  him  that  she  has  resolved  to  yield 
to  her  father's  wish,  and  to  bestow  her  hand  on 
Prince  Louis.  For  a  moment  Cesar  stands  pet- 
rified, but  his  guardian  angel,  in  the  guise  of 
Perrin,  whispers,  from  behind  the  screen,  to  hold 
out,  and  not  to  believe  in  woman's  wiles.  So 
he  controls  himself  once  more,  and  congratu- 
lates her,  wishing  the  same  courtesy  from  the 
Princess,  because,  as  he  calmly  adds,  he  has  got 
betrothed  to  Donna  Laura. 

That  is  the  last  stroke  for  Diana;  her  pride  is 
humbled  to  the  dust.  All  her  reserve  vanishes, 
when  lier  secret  love  for  the  hero,  which  she  has 
not  even  owned  to  herself,  is  in  danger.  She 
altogether  breaks  down,  and  so  she  is  found  by 
her  father,  who  enters,  loudly  acknowledging 
Don  Louis  as  his  son-in-law,  and  sanctioning 
Don  Cesar's  choice  of  Donna  Laura.  But  Cesar 
begs  to  receive  his  bride  from  Diana's  own 
hands,  at  which  the  latter  rising  slowly,  asks 
her  father  if  he  is  still  willing  to  leave  to  her 
alone  the  selection  of  a  husband.  Don  Diego 
granting   this,    she   answers:  "Then   I   choose 

ioo 


Les  Dragons  de  Villars 

him  who  conquered  pride  through  pride." 
"And  who  may  this  happy  mortal  be?"  says 
Cesar.  "  You  ask?  It's  you,  my  tyrant,"  she 
replies,  and  with  these  words  sinks  into  her 
lover's  open  arms. 


LES   DRAGONS  DE  YILLARS 
(THE  BELL  OF  THE  HERMIT) 

Comic  Opera  in  three  acts 

by  LOUIS   AIM£   MATLLART 

Text  after  the  French  by  G.  ERNST 

Mai  Hart,  who  studied  under  Halevy  in  Paris, 
and  received  the  Roman  prize  (prix  de  Rome) 
in  the  year  1841,  composed  six  operas,  all  of 
.vhich  are  now  almost  forgotten  with  the  single 
exception  of  "Les  Dragons  de  Villars"  (in 
1856),  which  found  favor  in  Germany  by  virtue 
of  its  wit  and  grace. 

The  music  sparkles  with  French  charm  and 
gaiety  of  the  most  exquisite  kind  and  these  are 
the  merits  by  which  this  unpretentious  opera 
has  kept  its  place  by  the  side  of  its  grander  and 
more  pompous  sisters. 

The  tale  is  clever  and  amusing. 

The  scene  is  laid  in  a  French  mountain  village 
near  the  frontier  of  Savoy,  towards  the  close  of 
the  war  in  the  Cevennes,  in  1704. 

ior 


■TATB 
•ANTA 

- 

So*" 

'* 

i* 

The  Standard  Operaglass 

In  the  first  act  peasant  women  in  the  service 
of  Thibaut,  a  rich  country  Squire,  are  collecting 
fruit.  Georgette,  Thibaut's  young  wife,  con- 
trols their  work.  In  compliance  with  a  general 
request  she  treats  them  to  a  favorite  Provencal 
song,  in  which  a  young  girl,  forgetting  her  first 
vows  made  to  a  young  soldier,  gives  her  hand  to 
another  suitor.  She  is  interrupted  by  the  sound 
of  trumpets.  Thibaut,  hurrying  up  in  great  dis- 
tress, asks  the  women  to  hide  themselves  at  once, 
because  soldiers  are  marching  into  the  village. 
He  conceals  his  own  wife  in  the  pigeon-house. 
A  detachment  of  dragoons  arrives,  and  Belamy, 
their  corporal,  asks  for  food  and  wine  at  Thi- 
baut's house.  He  learns  that  there  is  nothing 
to  be  had,  and  in  particular  that  all  the  women 
have  fled,  fearing  the  unprincipled  soldiers  of 
King  Louis  XIV.,  sent  to  persecute  the  poor 
Huguenots  or  Camisards,  who  are  hiding  in  the 
mountains — further  that  the  "  Dragons  de  Vil- 
lars"  are  said  to  be  an  especially  wild  and  dis- 
solute set. 

Belamy  is  greatly  disgusted,  and,  after  having 
had  his  dinner  and  a  sleep  in  Thibaut's  own  bed, 
decides  to  march  on.  The  Squire  gladly  offers 
to  accompany  the  soldiers  to  St.  Gratien's  grotto, 
near  the  hermitage,  where  they  have  orders  to 
search  for  the  Huguenot  refugees. 

While  Belamy  is  sleeping,  Thibaut  calls  his 
servant  Silvain  and  scolds  him  because,  though 

102 


Les  Dragons  de  Villars 

his  best  servant,  lie  has  now  repeatedly  been  ab- 
sent over-long  on  his  errands;  finally  orders  him 
to  saddle  the  mules. 

Stammering,  Silvain  owns  that  they  have  gone 
astray  in  the  mountains,  but  that  he  is  sure  of 
their  being  fouud  in  due  time.  AVhile  Thibant 
expresses  his  fear  that  they  may  be  stolen  by  the 
fugitives,  Rose  Friquet,  an  orphan  girl,  brings 
the  mules,  riding  on  the  back  of  one  of  them. 
Thibant  loads  her  with  reproaches,  but  Silvain 
thanks  her  warmly,  and  though  she  mockingly 
repudiates  his  thanks,  he  discovers  that  she  has 
taken  the  mules  in  order  not  to  let  the  provost 
into  Silvain's  secret.  The  fact  is  that  Silvain 
carries  food  every  day  to  the  refugees,  and  Eose 
Friquet,  the  poor  goat-keeper,  who  is  despised 
and  supposed  to  be  wicked  and  malicious,  pro- 
tects him  in  her  poor  way,  because  he  once  in- 
tercepted a  stone  which  was  meant  for  her 
head. 

While  the  soldiers  are  dining,  Belamy,  who 
has  found  Georgette's  bonnet,  demands  an  ex- 
planation. 

Thibant,  confused,  finds  a  pretext  for  going 
out,  but  Rose  betrays  to  Belamy  first  the  wine- 
cellar  and  then  Georgette's  hiding-place.  The 
young  wife  cries  for  help,  and  Rose  rnns  in  to 
fetch  Thibaut.  Belamy  is  delighted  with  the 
pretty  Georgette,  but  she  tells  him,  rather  anx- 
iously, that  all  the  wives  of  the  village  must 

103 


The  Standard  OperagJass 

needs  remain  entirely  true  to  their  husbands, 
for  the  hermit  of  St.  Gratien,  though  dead  for 
two  hundred  years,  is  keeping  rigid  watch,  and 
betrays  every  case  of  infidelity  by  ringing  a  little 
bell,  which  is  heard  far  and  wide. 

Belamy  is  somewhat  desirous  to  try  the  ex- 
periment with  Georgette,  and  asks  her  to  accom- 
pany him  to  the  hermitage  instead  of  her  hus- 
band. 

After  having  found  the  other  women  in  the 
village,  the  soldiers,  to  Thibaut's  great  vexa- 
tion, decide  to  stay  and  amuse  themselves.  Sil- 
vain  rejoices,  and,  after  a  secret  sign  from  Rose, 
resolves  to  warn  the  refugees  in  the  evening. 

In  the  second  act  Eose  and  Silvain  meet  near 
St.  Gratien.  Rose,  after  telling  him  that  all 
the  paths  are  occupied  by  sentries,  promises  to 
show  him  a  way  for  the  refugees,  which  she  and 
her  goat  alone  knows.  Silvain,  thanking  her 
warmly,  endeavors  to  induce  her  to  care  more 
for  her  outward  appearance,  praising  her  pretty 
features.  Rose  is  delighted  to  hear  for  the  first 
time  that  she  is  pretty,  and  the  duet  ensuing  is 
one  of  the  most  charming  things  in  the  opera. 
Silvain  promises  to  be  her  friend  henceforth,  and 
then  leaves,  in  order  to  seek  the  Camisards. 
After  this  Thibaut  appears,  seeking  his  wife, 
whom  he  has  seen  going  away  with  Belamy. 
Finding  Rose,  he  imagines  he  has  mistaken  her 
for  his  wife,  but  she  laughingly  corrects  him, 

104 


Les   Dragons  de  Villars 

and  he  proceeds  to  search  for  Georgette.  Bel- 
amy  now  comes  and  courts  Thibaut's  wife. 
But  Rose,  seeing  them,  resolves  to  free  the  path 
for  the  others.  Xo  sooner  has  Belamy  tried  to 
snatch  a  kiss  from  his  companion,  than  Rose 
draws  the  rope  of  the  hermit's  bell,  and  she  re- 
peats the  proceeding,  until  Georgette  takes 
flight,  while  Thibaut  rushes  up  at  the  sound  of 
the  bell.  Belamy  reassures  him,  intimating 
that  the  bell  may  have  rung  for  Rose  (though  it 
never  rings  for  girls),  and  accompanies  him  to 
the  village.  But  he  soon  returns  to  look  for 
the  supposed  hermit,  who  has  played  him  this 
trick,  and  finds  Rose  instead,  who  does  not  per- 
ceive him.  To  his  great  surprise,  Si  1  vain  comes 
up  with  the  whole  troop  of  refugees,  leading 
the  aged  clergyman  who  had  been  a  father  to 
them  in  his  childhood.  Silvaiu  presents  Rose  to 
them  as  their  deliverer,  and  vows  to  make  her  his 
wife.  Rose  leads  them  to  the  secret  path,  while 
Silvain  returns  to  the  village,  leaving  Belamy 
triumphant  at  his  discovery. 

In  the  third  act  we  find  the  people,  on  the  fol- 
lowing morning,  speaking  of  nothing  but  Sil- 
vain's  wedding  with  Rose  and  of  the  hermit's 
bell.  Nobody  knows  who  has  been  the  culprit, 
but  Thibaut  slily  calculates  that  the  hermit  has 
rung  beforehand,  when  Rose,  the  bride,  kissed 
the  dragoon.  Having  learned  that  the  soldiers 
had  been  commanded  to  saddle  their  horses  in 

105 


The  Standard  Operaglass 

the  midst  of  the  dancing,  the  night  before,  and 
that  Belamy,  sure  of  his  prey,  has  come  back, 
he  believes  that  Rose  has  betrayed  the  poor 
Camisards  in  order  to  win  the  price  set  on  their 
heads,  and  this  opinion  he  now  communicates  to 

Silvain. 

To  keep  Belamy  away  from  Georgette,  the 
sly  Squire  has  conducted  him  to  the  wine-cellar, 
and  the  officer,  now  half  drunk,  admits  having 
had  a  rendezvous  with  Rose.  When  Thibaut 
has  retired,  Belamy  again  kisses  Georgette,  and, 
lo,  the  bell  does  not  ring  this  time ! 

Meanwhile  Rose  comes  down  the  hill,  neatly 
clad,  and  glowing  with  joy  and  pride,  and  Geor- 
gette,  disregarding    Thibaut's  reproofs,    offers 
her  the  wedding  garland.     The  whole  village  is 
assembled  to  see  the  wedding,  but  Silvain  ap- 
pears with  dark  brow,  and  when  Rose  radiantly 
greets  him,  he  pushes  her  back  fiercely,  believing 
that  she  betrayed  the  refugees,  who  are,  as  he 
has  heard,  caught.     Rose  is  too  proud  to  defend 
herself,  but  when  Georgette  tries  to  console  her 
she  silently  draws  from  her  bosom  a  paper  con- 
taining the  information  that  the  refugees  have 
safely  crossed  the  frontier.     Great  is  Silvain's 
shame,  and  heartfelt  his  repentance.     Suddenly 
Belamy  enters,  beside  himself  with  rage,  for  his 
prey  has  escaped,  and  he  has  lost  his  patent  as 
lieutenant,  together  with  the  remuneration  of 
200  pistoles,  and  he  at  once  orders  Silvain  to  be 

1 06 


The  Dusk  of  the  Gods 

shot.  But  Rose  bravely  defends  her  lover, 
threatening  to  reveal  the  dragoon's  neglect  of 
duty.  When,  therefore,  Belamy's  superior  ap- 
pears to  hear  the  important  news  of  which  the 
messenger  told  him,  his  corporal  is  only  able  to 
6tammerout  that  nothing  in  particular  has  hap- 
pened, and  so,  after  all,  Georgette  is  saved  from 
discovery,  and  Rose  becomes  Silvain's  happy 
bride. 


THE   DUSK   OF   THE   GODS 

Third  day  of  the  Nibelungen  Ring  by  WAGNER 

This  is  the  end  of  the  great  and  beautiful 
tragedy,  and  really  it  may  be  called  both  a  sub- 
lime and  grand  conclusion,  which  unites  once 
again  all  the  dramatic  and  musical  elements  of 
the  whole,  and  presents  to  us  a  picture  the  more 
interesting  and  touching,  as  it  is  now  purely 
human.  The  Gods  who,  though  filled  with  pas- 
sions and  faults  like  mortals,  never  can  be  for 
us  living  persons,  fall  into  the  background  and 
human  beings,  full  of  high  aspirations,  take 
their  places.  The  long  and  terrible  conflict  be- 
tween the  power  of  gold  and  that  of  love  is  at 
last  fought  out,  and  love  conquers. 

In  the  Dusk  of  the  Gods  we  see  again  the 
curse  which  lies  on  gold,  and  the  sacred  bene- 
diction of  true  love.     Can   there   bo  anything 

107 


The  Standard  Operaglass 

more  noble,  more  touching,  than  Briinnhilde's 
mourning  for  Siegfried  and  the  grand  sacrifice 
of  herself  in  expiation  of  her  error? 

The  third  day  opens  with  a  prelude,  in  which 
we  see  three  Noras,  weaving  world's  fate.  When 
the  cord  breaks,  they  fly;  the  dawn  of  another 
world  is  upon  them. 

In  the  first  act  Siegfried  bids  Briinnhilde  fare- 
well. His  active  60ul  thirsts  for  deeds,  and 
Briinnhilde,  having  taught  him  all  she  knows, 
does  not  detain  him.  He  gives  her  the  fatal 
ring  in  token  of  remembrance,  confiding  her  to 
the  care  of  Loge.  Then  we  are  transported  to 
the  Gibichung's  hall  on  the  Ehine.  Gunther 
and  his  sister  Gutruue  sit  there,  together  with 
their  gloomy  half-brother  Hagen.  The  latter 
advises  his  brother  to  marry,  telling  him  of  the 
beautiful  woman  guarded  by  the  flames.  When 
he  has  sufficiently  excited  Gunther's  longing, 
he  suggests  that,  as  Siegfried  is  the  only  one 
able  to  gain  Briinnhilde,  Gunther  should  attach 
him  to  his  person  by  giving  him  Gutrune  as 
wife.  This  is  to  be  achieved  by  a  draught 
which  has  the  power  of  causing  oblivion.  Who- 
ever drinks  it  forgets  that  ever  a  woman  has  ex- 
isted beside  the  one  who  has  tended  the  potion. 
Hagen  well  knows  of  Siegfried's  union  with 
Briinnhilde,  but  Gunther  and  Gutrune  are  both 
ignorant  of  it. 

Siegfried    arrives  and  is  heartily  welcomed. 

10S 


The   Dusk  of  the  Gods 

All  turns  out  as  Hageu  has  foretold.  By  the 
fatal  potion  Siegfried  falls  passionately  in  love 
with  Gutrune,  so  that  he  completely  forgets 
Briinnhilde.  He  swears  blood  brothership  to 
Gunther;  and  promises  to  win  Briinnhilde  for 
him.     Then  the  two  depart  on  their  errand. 

Meanwhile  the  Walkyrie  Waltraute  comes  to 
Briinnhilde  and  beseeches  her  to  render  Sieg- 
fried's ring  to  the  Rhine  daughters,  in  order  to 
save  the  Gods'  from  destruction.  Briinnhilde 
refuses  to  part  with  the  token  of  her  husband's 
love,  and  hardly  has  Waltraute  departed  than 
fate  overtakes  her  in  the  person  of  Siegfried, 
who  ventures  through  the  flames  in  Guuther's 
shape.  She  vainly  struggles  against  him,  he 
snatches  the  ring  from  her,  and  so  she  is  con- 
quered. Siegfried  holds  vigil  through  the  night, 
his  sword  separating  him  and  the  woman  he 
wooed,  and  in  the  early  dawn  he  leads  her  away 
to  her  bridegroom,  who  takes  Siegfried's  place 
unawares. 

In  the  second  act  Alberich  appears  to  Hagen. 
He  tells  his  son  of  the  story  of  the  ring  and  bids 
him  kill  Siegfried  and  recover  the  stolen  treas- 
ure for  its  owner.  Siegfried  appears,  announc- 
ing Gunther's  and  Briinnhilde's  arrival.  The 
bridal  pair  is  received  by  all  their  men,  but  the 
joy  is  soon  damped  by  Briinnhilde  recognizing 
in  the  bridegroom  of  Gutrune  her  own  husband. 
Siegfried  does  not  know  her,  but  she  discovers 

109 


The  Standard   Operaglass 

her  ring  on  his  hand,  and  asserting  that  Gunther 
won  it  from  her,  this  hero  is  obliged  to  acknowl- 
edge the  shameful  role  he  played.  Though 
Siegfried  swears  that  his  sword  Northung 
guarded  him  from  any  contact  with  Gunther's 
bride,  Briinnhilde  responds  in  a  most  startling 
manner,  and  both  swear  on  Hagen's  spear  that 
it  may  pierce  them  should  their  words  prove 
false.  All  this  makes  a  dreadful  impression  on 
the  weak  mind  of  Gunther. 

When  Siegfried  has  withdrawn  in  high  spirits 
with  his  bride  Gutrune,  Hagen,  hoping  to  gain 
the  ring,  offers  to  avenge  Briinnhilde  on  the 
faithless  Siegfried.  Briinnhilde,  in  her  deadly 
wrath,  betrays  to  him  the  only  vulnerable  spot 
beneath  Siegfried's  shoulder.  Gunther  con- 
sents reluctantlv  to  their  schemes. 

The  third  act  opens  with  a  scene  on  the 
Ehine.  The  Ehine  daughters  try  to  persuade 
Siegfried  to  render  them  the  ring.  He  is  about 
to  throw  it  into  the  water,  when  they  warn  him 
of  the  evil  which  will  befall  him  should  he  re- 
fuse their  request.  This  awakens  his  pride,  and, 
laughing,  he  turns  from  them,  he,  the  fearless 
hero.  His  fellow  hunters  overtake  him,  and 
while  he  relates  to  them  the  story  of  his  life, 
Hagen  mixes  a  herb  with  his  wine  which  en- 
ables him  to  remember  all  he  has  forgotten. 
Hagen  then  treacherously  drives  his  spear  into 
Siegfried's  back,  killing   him.     He   dies   with 

no 


The  Dusk  of  the  Gods 

Brunnhilde's  praise  on  his  lips.  The  funeral 
march  which  here  follows  is  one  of  the  most 
beautiful  ever  written.  When  the  dead  hero  is 
brought  to  the  Gibichung's  hall,  Gutrune  be- 
wails him  loudly.  A  dispute  arises  between 
Hagen  and  Gunther  about  the  ring,  which  ends 
by  Hagen  slaying  Gunther.  But,  lo,  when 
Hagen  tries  to  strip  the  ring  off  the  dead  hand, 
the  fingers  close  themselves,  and  the  hand  raises 
itself,  bearing  testimony  against  the  murderer. 
Briinnhilde  appears  to  mourn  for  the  dead; 
6he  drives  away  Gutrune,  who  sees  too  late  that, 
under  the  influence  of  the  fatal  draught,  Sieg- 
fried forgot  his  lawful  wife,  whom  she  now  rec- 
ognizes in  Briinnhilde.  The  latter,  taking  a 
long  farewell  of  her  dead  husband,  orders  a 
funeral  pile  to  be  erected.  As  soon  as  Sieg- 
fried's body  is  placed  on  it  she  lights  it  with  a 
firebrand,  and  when  it  is  in  full  blaze  she 
mounts  her  faithful  steed,  leaping  with  it  into 
the  flames. 

When  the  fire  sinks,  the  Rhine  daughters  are 
seen  to  snatch  the  ring,  which  is  now  purified 
from  its  curse  by  Brunnhilde's  death. 

Hagen,  trying  to  wrench  it  from  them,  is 
drawn  into  the  waves  and  so  dies. 

A  dusky  light,  like  that  of  a  new  dawn,  spreads 
over  heaven,  and  through  a  mist,  Walhalla,  with 
all  the  Gods  sleeping  peacefully,  may  be  per- 
ceived. 

in 


The  Standard  Operaglass 
EUKYANTHE 

Grand  romantic  Opera  by  C.  M.  VON  WEBER 
Text  by  HELMINA  VON  CHBZY 

This  opera  has  not  had  the  success  of  Oberon 
or  Freischiitz,  a  fact  to  be  attributed  to  the 
weakness  of  its  libretto,  and  not  to  its  music, 
which  is  so  grand  and  noble  that  it  cannot  but 
fill  the  hearer  with  admiration  and  pleasure. 

The  overture  is  one  of  the  finest  pieces  ever 
written,  and  the  choruses  and  solos  are  equally 
worthy  of  admiraton. 

The  plot  is  as  follows: 

Adolar,  Count  of  Nevers  and  Bethel,  is  be- 
trothed to  Euryanthe  of  Savoy,  and  the  wedding 
is  to  take  place,  when  one  day,  in  the  King's 
presence,  Lysiart,  Count  of  Forest  and  Beau- 
jolais,  suggests  that  all  women  are  accessible  to 
seduction.  He  provokes  Adolar  so  much  that 
he  succeeds  in  making  him  stake  his  lands  and 
everything  he  possesses  on  his  bride's  fidelity. 
Lysiart,  on  the  other  hand,  promises  to  bring  a 
token  of  Euryanthe's  favor. 

In  the  following  scene  we  find  Euryanthe  in 
the  company  of  Eglantine  de  Puiset.  This 
lady  is  a  prisoner  who  has  taken  refuge  in  the 
castle  of  Nevers,  and  has  ingratiated  herself  so 
much  with  Euryanthe   that  the  latter  tenderly 

112 


Euryanthe 

befriends  the  false  woman.  Asking  Euryanthe 
why  she  always  chooses  for  her  recreation  the 
dreary  spot  of  the  park  where  Adolar's  sister 
Emma  lies  buried,  she  is  told  by  her,  in  confi- 
dence, that  she  prays  for  Emma,  who  poisoned 
herself  after  her  lover's  death  in  battle.  Her 
soul  could  find  no  rest  until  the  ring  which 
contained  the  venom  should  be  wet  with  the 
tears  of  a  faithful  and  innocent  maid,-  shed  in 
her  extreme  need.  No  sooner  has  Euryanthe 
betrayed  her  bridegroom's  secret  than  she  re- 
pents doing  so,  foreboding  ill  to  come.  Lysiart 
enters  to  escort  her  to  the  marriage  festival,  but 
he  vainly  tries  to  ensnare  her  innocence,  when 
Eglantine  comes  to  his  rescue.  She  loves 
Adolar,  and,  her  passion  not  being  returned,  she 
has  sworn  vengeance.  Stealing  the  fatal  ring 
from  the  sepulchre,  she  gives  it  to  Lysiart  as  a 
token  of  Euryanthe's  faithlessness,  and  Lysiart, 
after  having  brought  Euryanthe  to  Adolar, 
shows  the  ring  in  presence  of  the  whole  court, 
pretending  to  have  received  it  from  Euryanthe. 
The  poor  maideu  denies  it,  but  as  Lysiart  re- 
veals the  mystery  of  the  grave,  she  cannot  deny 
that  she  has  broken  her  promise  of  never  tell- 
ing the  secret. 

Adolar,  full  of  despair,  surrenders  everything 
to  his  rival,  leading  Euryanthe,  whom  he  be- 
lieves to  be  false,  into  the  wilderness  to  kill  her. 
A  serpent  is  about  to  sting  him,  when  his  bride 
8  "3 


The  Standard  Operaglass 

throws  herself  between.  He  kills  the  reptile, 
but,  after  her  sacrifice,  he  is  unable  to  raise 
his  arm  against  her  and  so  leaves  her  to  her 
fate. 

She  is  found  by  the  King  and  his  hunters, 
and  to  them  she  relates  the  whole  story  of  her 
error  of  confiding  in  the  false  Eglantine.  The 
King  promises  to  inform  Adolar  and  takes  her 
back  with  him.  Meanwhile  Adolar,  returning 
once  more  to  his  grounds,  is  seen  by  his  people. 
One  of  them,  Bertha,  tells  him  that  Euryanthe 
is  innocent,  and  that  Eglantine,  who  is  about 
to  marry  Lysiart  and  to  reign  as  supreme 
mistress  over  the  country,  has  been  the  cul- 
prit. 

Eglantine,  appearing  in  bridal  attire,  led  by 
Lysiart,  suddenly  becomes  a  prey  to  fearful  re- 
morse; she  sees  Emma's  ghost,  and  in  her  anx- 
iety reveals  the  whole  plot.  Her  bridegroom 
stabs  her  in  his  fury,  but  is  at  once  seized  by 
order  of  the  King,  who  just  then  comes  upon 
the  scene.  Adolar,  believing  Euryanthe  dead, 
demands  a  meeting  with  Lysiart.  But  the  King 
declares  that  the  murderer  must  incur  the  pen- 
alty of  the  laws.  He  renders  up  to  Adolar  his 
possessions  and  his  bride,  who  the  more  easily 
pardons  her  repentant  bridegroom  that  she  has 
saved  his  sister's  soul  by  the  innocent  tears  of 
her  misfortune. 


114 


The  Evangelimann 
THE  EVANGELIMANN 

A  Musical  Drama  in  two  acts 
With  Text  and  Music  by  WILHELM  KIENZL 

The  author  has  learnt  a  great  deal  since  the 
days  in  which  he  composed  Urvasi.  His  music 
has  become  more  origiual  and  more  independent 
of  great  models.  The  new  opera,  while  not  so 
poetical,  is  eminently  touching  and  true;  the 
text,  founded  on  fact,  runs  smoothly  and  is 
cleverly  done,  the  verses  being  well  adapted  to 
the  music.  Like  Verga's  Cavalleria,  the  sub- 
ject is  such  as  to  be  impressive  even  without 
music. 

It  is  necessary  to  explain  the  title  of  this 
opera,  which  signifies  a  man  who  goes  about 
reciting  biblical  verse,  after  the  fashion  of  street 
singers.  This  means  of  earning  a  livelihood  is 
unknown  in  Germany,  but  forms  a  specialty  in 
Austria. 

The  music  of  the  first  act  puts  one  in  mind 
of  the  Meistersingers;  as  a  whole  it  is  very  cap- 
tivating, fresh  and  drastic,  especially  during  the 
ninepin  scene.  The  orchestra  predominates, 
but  there  are  truly  poetic  airs,  which  will  linger 
as  much  in  the  heart  as  in  the  ear  of  the  hearer. 
Such  is:  ''0  sweet  days  of  my  youth,"  and  in 
the  last  act:  "  Blessed  are  they  who  are  perse- 

"5 


The  Standard  Operaglass 

cuted,"  from  Christ's  Sermon  on  the  Mount. 
Another  charming  bit  of  music  is  the  children's 
waltz,  in  which  the  composer  has  paraphrased 
one  of  Lanner's  well-known  waltz  motives. 

The  first  scene  is  laid  in  the  village  of  St. 
Ochmar,  in  Austria,  or  rather  in  the  court  of  the 
convent  of  the  Benedictines  of  that  place. 
Mathias,  a  young  clerk  of  the  convent,  has  an 
interview  with  Martha,  the  niece  and  ward  of 
Frederic  Engel,  the  rich  warden  of  the  convent. 
John,  Mathias's  elder  brother  and  the  village 
schoolmaster,  sees  them  together.  Being  in 
love  with  the  girl  himself,  he  warns  her  uncle  of 
his  brother's  courtship  and  excites  his  wrath 
against  the  lovers,  so  that  Engel,  coming  across 
the  young  people,  gruffly  tells  Mathias  that  he 
has  already  chosen  a  rich  bridegroom  for  his 
ward.  In  vain,  the  lovers  beseech  the  old  man's 
pity,  for  his  anger  only  waxes  stronger,  and  he 
goes  so  far  as  to  discharge  Mathias,  warning 
him  to  leave  the  place  altogether.  Martha,  left 
alone,  bemourns  her  guardian's  hardness,  and 
John,  thinking  to  profit  by  the  occasion,  ap- 
proaches her  and  asks  for  her  hand.  But  he  is 
so  decidedly  rejected  by  Martha  that  he  swears 
to  have  his  revenge. 

Meanwhile  the  evening  approaches,'  and  the 
country  folk  come  to  the  inn  next  to  the  con- 
vent to  play  their  game  of  ninepins.  During 
this  very  animated  scene  Mathias  finds   Mag- 

116 


The  Evangelimann 

dalen,  his  sweetheart's  friend,  whom  lie  entreats 
to  take  a  message  to  Martha,  asking  her  to  meet 
him  at  eleven  o'clock  in  the  bower  near  the 
skittleground  for  a  last  farewell.  John  hears 
this,  aud  when  night  sets  in,  and  the  gates  of  the 
convent  are  closed,  he  remains  outside  alone, 
hiding  behind  the  barn  floor.  When  the  clock 
strikes  eleven,  Martha  and  Mathias  approach  the 
bower.  They  swear  to  remain  true  to  each  other, 
come  what  may.  Their  tender  words  excite 
Johu's  jealousy  to  the  utmost,  aud  while  the 
lovers  are  engrossed  with  their  sorrow  and  make 
plans  for  the  future,  he  sets  fire  to  the  barn 
floor.  Soon  the  flames  leap  up  to  the  sky,  but 
the  lovers  are  oblivious  of  everything,  till  they 
hear  the  watchman's  cry  of  fire.  Mathias  per- 
suades Martha  to  hide  herself;  so  he  is  found 
alone  on  the  place  and  seized  by  the  crowd  and 
brought  before  the  warden.  Engel  at  once 
jumps  to  the  conclusion  that  he  has  been  the 
incendiary,  to  revenge  himself  for  Engelrs  hard- 
heartedness,  and,  despite  his  protestations  of  in- 
nocence, Mathias  is  put  in  chains  and  carried 
away,  while  Martha,  who  comes  out  from  her 
hiding-place,  falls  back  in  a  swoon,  after  pro- 
claiming his  innocence. 

The  second  act  takes  place  thirty  years  later 
in  Vienna.  Magdalen  sits  under  a  lime-tree,  in 
the  court  of  an  old  house,  and  muses  sadly  over 
days  gone  by.     After  long,  lonely  years,  she  has 

"7 


The  Standard   Operaglass 

found  the  schoolmaster  John  sick  unto  death, 
and  now  finds  comfort  in  nursing  him.  Noth- 
ing has  ever  been  heard  of  Mathias  again,  and 
she  wonders  sadly  what  has  become  of  him. 
Children  throng  into  the  court,  they  dance 
around  the  lime-tree,  while  an  old  organ  grinder 
plays  pretty  waltz  tunes  to  their  steps.  While 
they  are  dancing,  an  Evangelimann  comes  into 
the  court.  He  reads  and  sings  to  the  children 
the  verses  from  Christ's  Sermon  on  the  Mount, 
and  teaches  them  to  repeat  the  melody.  When 
they  are  able  to  sing  it  faultlessly,  he  faintly 
asks  for  a  drink  of  water,  which  Magdalen 
brings  him.  She  asks  him  whence  he  comes, 
and  when  he  tells  her  that  his  father's  house 
stood  in  St.  Othmar,  she  recognizes  in  him  her 
old  friend  Mathias.  Then  he  relates  his  sad 
story,  how  he  lay  imprisoned  for  twenty  years, 
the  real  incendiary  having  never  been  discov- 
ered. When  he  was  set  free,  he  returned  home, 
only  to  find  that  his  bride  had  drowned  herself. 
All  his  efforts  to  earn  a  livelihood  were  fruit- 
less; nobody  would  employ  the  convict,  until  he 
was  at  last  obliged  to  become  an  Evangelimann, 
and  wandered  from  place  to  place,  preaching 
the  gospel  to  the  poor,  and  getting  such  small 
bounties  they  could  afford  to  give.  Exhausted 
by  hunger  and  overcome  by  sad  remembrances, 
Mathias  sinks  down  on  the  bench  half  fainting, 
but  is  revived  by  bread  and  broth  brought  to 

118 


The  Evangelimann 

him  by  Magdalen,  who  earnestly  entreats  him 
to  return  soon,  and  to  bring  comfort  to  the  sick 
man  she  is  nursing. 

The  last  scene  takes  place  a  day  later  in 
John's  sick-room.  He  is  lying  on  a  couch,  a 
prey  to  bitter  thoughts  and  pangs  of  conscience, 
when  his  brother's  voice  reaches  his  ear  from 
below,  and  dimly  awakens  sweet  memories  in 
him.  He  bids  Magdalen  to  fetch  the  singer, 
and  when  the  latter  enters  he  feels  so  drawn 
to  him,  without  recognizing  his  brother,  that  he 
begs  leave  to  unburden  his  soul  to  him. 

Mathias,  soon  recognizing  his  brother,  is  about 
to  fold  him  in  his  arms,  but  John  despairingly 
shrinks  from  him,  while  confessing  his  guilt  in 
broken  words  and   beseeching  his  forgiveness. 
The  unfortunate  Mathias,  whose  life  has  been 
so  utterly  ruined  by  his  brother,  battles  fiercely 
with  his  natural  feelings.     But  when  he  sees 
the  wretched  John  on  his  knees  before  him,  so 
broken  down  and  exhausted,  he  finally  forgives 
him.     With  a  last  faint  gasp  of  thanks,  John 
falls  back  and  dies,  while  Magdalen  prays,  "  And 
forgive  us  our  trespasses,  as- we  forgive  those 
that  trespass  against    us."      Outside  the  chil- 
dren's voices  are  heard  once   more:  "Blessed 
are  they  that  are  persecuted  for  righteousness' 
sake;  for  theirs  is  the  Kingdom  of  Heaven." 


119 


The  Standard   Operaglass 
FALSTAFF. 

A  lyric  Comedy  in  three  acts  by  GIUSEPPE  VERDI. 
Text  by  ARRIGO  BOITO. 

Nobody  who  hears  this  opera  would  believe 
that  it  has  been  written  by  a  man  in  his  eigh- 
tieth year.  So  much  freshness,  wit  and  origi- 
nality seem  to  be  the  privilege  of  youth  alone. 
But  the  wonder  has  been  achieved,  and  Verdi 
has  won  a  complete  success  with  an  opera  which 
runs  in  altogether  different  lines  from  his  old 
ones,  another  wonder  of  an  abnormally  strong 
and  original  mind. 

Falstaff  was  first  represented  in  Milan  in 
February,  1893;  since  then  it  has  made  its  way 
to  all  theatres  of  renown,  and  it  is  now  indis- 
putable that  we  have  in  it  a  masterpiece  of  com- 
position and  orchestration.  Those  who  only 
look  for  the  easy-flowing  melodies  of  the 
younger  Verdi  will  be  disappointed;  art  is  pre- 
dominant, besides  an  exuberant  humor,  full  of 
charm  for  every  cultivated  hearer.  The  num- 
bers which  attract  most  are  the  gossiping  scene 
between  the  four  women  in  the  first  act,  Fal- 
staff's  air  "  Quand'ero  paggio  del  Duca  di  Nor- 
folk era  sottile  "  in  the  second,  and  the  fairy 
music  in  the  last  act. 

The  text  is  so  well  known  to  all  readers  of 
Shakespeare,   that    it    may   be   recorded   quite 

120 


Falstaff 

briefly.  It  is  almost  literally  that  of  "  The  Merry 
Wives  of  Windsor."  The  first  scene  is  laid  in 
the  Garter  Inn  of  that  town.  After  a  quarrel 
with  the  French  Physician  Dr.  Cajns,  who  has 
been  robbed  while  drunk  by  FalstafTs  servants 
Bardolph  and  Pistol,  Falstaff  orders  them  off 
with  two  love-letters  for  Mrs.  Alice  Foi'd  and 
Mrs.  Meg  Page.  The  knaves  refusing  indig- 
nantly to  take  the  parts  of  go-betweens,  Falstaff 
sends  them  to  the  devil  and  gives  the  letters  to 
the  page  Robin. 

In  the  second  act  the  two  ladies,  having  shown 
each  other  the  love-letters,  decide  to  avenge 
themselves  on  the- fat  old  fool. 

Meanwhile  FalstafTs  servants  betray  their 
master's  intentions  towards  Mrs.  Ford  to  her 
husband,  who  swears  to  guard  his  wife,  and  to 
keep  a  sharp  eye  on  Sir  John.  Then  ensues  a 
love  scene  between  Fenton  and  Mr.  Ford's 
daughter  Anna,  who  is  destined  by  her  father 
t>  marry  the  rich  Dr.  Cajus,  but  who,  by  far, 
prefers  her  poor  suitor  Fenton. 

After  a  while,  the  merry  wives  assemble  again, 
in  order  to  entice  Falstaff  into  a  trap.  Mrs. 
Quickley  brings  him  an  invitation  to  Mrs. 
Ford's  house,  in  absence  of  the  lady's  husband, 
which  Sir  John  accepts  triumphantly. 

Sir  John  is  visited  by  Mr.  Ford,  who  assumes 
the  name  of  Mr.  Horn,  and  is  nothing  loath  to 
drink  the  bottles  of  old  Cyprus  wine  which  the 

121 


The  Standard  Operaglass 

latter  has  brought  with  him.  Born  also  pro- 
duces a  purse  filled  with  sovereigns,  and  entreats 
Falstaff  to  use  it  in  order  to  get  admittance  to  a 
certain  Mrs.  Ford,  whose  favor  Born  vainly 
sought.  Falstaff  gleefully  reveals  the  rendez- 
vous which  he  is  to  have  with  the  lady,  and 
thereby  leaves  poor  disguised  Mr.  Ford  a  prey 
to  violent  jealousy. 

The  next  scene  contains  Falstaff 's  well-known 
interview  with  mischievous  Alice  Ford,  which 
is  interrupted  by  Mrs.  Meg's  announcement  of 
the  husband. 

Falstaff  is  packed  into  a  washing  basket,  while 
husband  and  neighbors  search,  for  him  in  vain. 
This  scene,  in  which  Falstaff,  half  suffocated, 
alternately  sighs  and  begs  to  be  let  out,  while 
the  women  tranquilly  sit  on  the  basket  and 
enjoy  their  trick,  is  extremely  comic.  The  bas- 
ket, with  Falstaff,  wash  and  all,  is  turned  over 
into  a  canal,  accompanied  by  the  women's 
laughter. . 

In  the  third  act  Mrs.  Quickley  succeeds  once 
more  in  enticing  the  old  fool.  She  orders  him  to 
another  rendezvous  in  the  Park  at  midnight, 
and  advises  him  to  come  in  the  disguise  of 
Heme,  the  black  hunter.  The  others  hear  of 
the  joke,  and  all  decide  to  punish  him  thor- 
oughly for  his  fatuity.  Ford,  who  has  promised 
Dr.  Cajus  to  unite  Anna  to  him  that  very 
night,  tells  him  to  wear  a  monk's  garb,  and  also 

122 


Fidelio 

reveals  to  him  that  Anna  is  to  wear  a  white 
dress  with  roses.  But  his  wife,  overhearing 
this,  frustrates  his  designs.  She  gives  a  black 
monk's  garb  to  Fenton,  while  Anna  chooses  the 
costume  of  the  Fairy  Queen  Titania.  When 
Falstaff  appears  in  his  disguise  he  is  attacked  on 
all  sides  by  fairies,  wasps,  flies  and  mosquitoes, 
and  they  torment  him  long,  until  he  cries  for 
mercy.  Meanwhile  Cajus,  in  a  gray  monk's  garb, 
looks  for  his  bride  everywhere,  until  a  tall  veiled 
female,  in  flowing  white  robes  (Bardolph),  falls 
into  his  arms;  on  the  other  side  Anna  appears 
with  Fenton.  Both  couples  are  wedded,  and 
only  when  they  unveil  is  the  mistake  discov- 
ered. With  bitter  shame  the  men  see  how  they 
have  all  been  duped  by  some  merry  and  clever 
women,  but  they  have  to  make  the  best  of  a 
bad  case,  and  so  Ford  grants  his  benediction  to 
the  happy  lovers,  and  embraces  his  wife,  only 
too  glad  to  find  her  true  and  faithful. 


FIDELIO 

Opera  in  two  acts  by  L.  van  BEETHOVEN 

This  opera,  the  only  one  by  the  greatest  of 
German  composers,  is  also  one  of  the  most  ex- 
quisite we  possess.  The  music  is  so  grand  and 
sublime,  so  passionate  and  deep,  that  it  enters 

123 


The  Standard   Operaglass 

into  the  heart  of  the  hearer.  The  libretto  is  also 
full  of  the  highest  and  most  beautiful  feeling. 

Florestan,  a  Spanish  nobleman,  has  dared  to 
blame  Don  Pizarro,  the  governor  of  the  state 
prison,  a  man  as  cruel  as  he  is  powerful.  Pi- 
zarro has  thus  become  Florestan 's  deadly  foe; 
he  has  seized  him  secretly  and  thrown  him  into 
a  dreadful  dungeon,  reporting  his  death  to  the 
Minister. 

But  this  poor  prisoner  has  a  wife,  Leonore, 
who  is  as  courageous  as  she  is  faithful.  She 
never  believes  in  the  false  reports,  but,  disguis- 
ing herself  in  male  attire,  under  the  name  of 
Fidelio,  resolves  not  to  rest  until  she  has  found 
her  husband. 

In  this  disguise  we  find  her  in  the  first  act; 
she  has  contrived  to  get  entrance  into  the  fort- 
ress where  she  supposes  her  husband  imprisoned, 
and  by  her  gentle  and  courteous  behavior  and 
readiness  for  service  of  all  kinds  has  won  not 
only  the  heart  of  Rocco,  the  jailer,  but  that  of 
his  daughter  Marcelline,  who  falls  in  love  with 
the  gentle  youth,  and  neglects  her  former  lover, 
Jaquino.  Fidelio  persuades  Eocco  to  let  her 
help  him  in  his  office  with  the  prisoners.  Quiv- 
ering with  mingled  hope  and  fear,  she  opens  the 
prison  gates,  to  let  the  state  prisoners  out  into 
the  court,  where  they  may  for  once  have  air  and 
sunshine. 

But,  seek  as  she  may,  she  cannot  find  her  hus- 

124 


Fidelio 

band,  and,  in  silent  despair,  she  deems  herself 
baffled. 

Meanwhile  Pizarro  has  received  a  letter  from 
Sevilla  announcing  the  Minister's  forthcoming 
visit  to  the  fortress.  Pizarro,  frightened  at  the 
consequences  of  such  a  call,  resolves  to  silence 
Florestan  for  ever.  He  orders  the  jailer  to  kill 
him,  but  the  old  man  will  not  burden  his  soul 
with  a  murder,  and  refuses  firmlv.  Then  Pi- 
zarro  himself  determines  to  kill  Florestan,  and 
summons  Rocco  to  dig  a  grave  in  the  dungeon, 
in  order  to  hide  all  traces  of  the  crime. 

Rocco,  already  looking  upon  the  gentle  and 
diligent  Fidelio  as  his  future  son-in-law,  con- 
fides to  him  his  dreadful  secret,  and,  with  fear- 
ful forebodings,  she  entreats  him  to  accept  her 
help  in  the  heavy  work.  Pizarro  gives  his  per- 
mission, Rocco  being  too  old  and  feeble  to  do 
the  work  quickly  enough  if  alone;  Pizarro  has 
been  rendered  furious  by  the  indulgence  granted 
to  the  prisoners  at  Fidelio's  entreaty,  but  a  feel- 
ing of  triumph  overcomes  every  other  when  he 
sees  Rocco  depart  for  the  dungeon  with  his  as- 
sistant. 

Here  we  find  poor  Florestan  chained  to  a 
stone;  he  is  wasted  to  a  skeleton,  as  his  food  has 
been  reduced  in  quantity,  week  by  week,  by  the 
cruel  orders  of  his  tormentor.  He  is  gradually 
losing  his  reason;  he  has  visions,  and  in  each 
one  beholds  his  beloved  wife. 

125 


The  Standard   Operaglass 

When  Leonore  recognizes  him  she  well-nigh 
faints,  but,  with  a  supernatural  effort  of  strength 
she  rallies,'  and  begins  her  work.  She  has  a 
piece  of  bread  with  her,  which  she  gives  to  the 
prisoner,  and  with  it  the  remainder  of  Rocco's 
wine.  Rocco,  mild  at  heart,  pities  his  victim 
sincerely,  but  he  dares  not  act  against  the  orders 
of  his  superior,  fearing  to  lose  his  position,  or 
even  his  life. 

While  Leonore  refreshes  the  sick  man,  Rocco 
gives  a  sign  to  Pizarro  that  the  work  is  done, 
and  bids  Fidelio  leave;  but  she  only  hides  her- 
self behind  a  stone  pillar,  waiting  with  deadly 
fear  for  the  coming  event  and  decided  to  save 
her  husband  or  to  die  with  him. 

Pizarro  enters,  secretly  resolved  to  kill  not 
only  his  foe  but  also  both  witnesses  of  his 
crime.  He  will  not  kill  Florestan,  however, 
without  letting  him  know  who  his  assailant  is. 
So  he  loudly  shouts  his  own  much-feared  name, 
but  while  he  raises  his  dagger,  Leonore  throws 
herself  between  him  and  Florestan,  shielding 
the  latter  with  her  breast.  Pizarro,  stupefied 
like  Florestan,  loses  his  presence  of  mind. 
Leonore  profits  by  it,  and  points  a  pistol  at 
him,  with  which  she  threatens  his  life  should 
he  attempt  another  attack.  At  this  critical 
moment  the  trumpets  sound,  announcing  the 
arrival  of  the  Minister,  and  Pizarro,  in  im- 
potent wrath,  is  compelled   to   retreat.     They 

126 


La  Figlia  del   Reggimento 

are  all  summoned  before  the  Minister,  who  is 
shocked  at  seeing  his  old  friend  Florestan  in 
this  sad  state,  but  not  the  less  delighted  with, 
and  full  of  reverence  for,  the  noble  courage  of 
Leonore. 

Pizarro  is  conducted  away  in  chains,  and  the 
faithful  wife  with  her  own  hands  removes  the 
fetters  which  still  bind  the  husband  for  whom 
she  has  just  won  freedom  and  happiness. 

Marcelline,  feeling  inclined  to  be  ashamed  of 
her  mistake,  returns  to  her  simple  and  faithful 
lover  Jaquino. 


LA  FIGLIA  DEL  KEGGIMENTO 

Comic  Opera  in  two  acts  by  GAETANO  DONIZETTI 
Text  by  ST.  GEORGE  and  BAYARD 

This  opera  is  one  of  the  few  of  Donizetti's 
numerous  works  which  still  retain  their  attrac- 
tion for  the  theatre  visitor;  the  others  are  his 
Lucrezia  Borgia  and  Lucia  di  Lammermoor. 

The  "Daughter  of  the  Regiment "  happily 
combines  Italian  richness  of  melody  with  French 
"esprit"  and  French  sallies,  and  hence  the 
continued  charm  of  this  almost  international 
music. 

The  libretto  can  be  accounted  good. 

The  scene  in  the  first  act  is  laid  near  Bologna 

127 


The  Standard  Operaglass 

in  the  year  1815,  the  second  act  in  the  castle  of 
the  Marchesa  di  Maggioriviglio. 

Mary,  a  vivandiere,  has  been  found  and  edu- 
cated by  a  French  sergeant  named  Sulpice,  and 
therefore  belongs  in  a  sense  to  his  regiment, 
which  is  on  a  campaign  in  Italy.  She  is  called 
the  "daughter"  of  the  regiment,  which  has 
adopted  her,  and  she  has  grown  up,  a  bright 
and  merry  girl,  full  of  pluck  and  spirit,  the  pet 
and  delight  of  the  whole  regiment. 

Tonio,  a  young  Swiss,  who  has  fallen  in  love 
with  Mary,  is  believed  by  the  grenadiers  to  be  a 
spy,  and  is  about  to  be  hanged.  But  Mary, 
knowing  that  he  has  only  come  to  see  her,  tells 
them  that  he  lately  saved  her  life,  when  she 
was  in  danger  of  falling  over  a  precipice.  This 
changes  everything,  and  on  his  expressing  a  de- 
sire to  become  one  of  them  the  grenadiers  suf- 
fer the  Swiss  to  enlist  into  their  company. 
After  the  soldiers'  departure  he  confesses  his 
love  to  Mary,  who  returns  it  heartily.  The 
soldiers  agree  to  give  their  consent,  when  the 
Marchesa  di  Maggiorivoglio  appears,  and  by  a 
letter  once  affixed  to  the  foundling  Mary,  ad- 
dressed to  a  Marchesa  of  the  same  name,  and 
carefully  kept  by  Sulpice,  it  is  proved  that 
Mary  is  the  Marchesa's  niece.  Of  course  this 
noble  lady  refuses  her  consent  to  a  marriage 
with  the  low-born  Swiss,  and  claims  Mary  from 
her  guardian.     With  tears  and  laments,  Mary 

128 


La  Figlia  del  Reggimento 

takes  leave  of  her  regiment  and  her  lover,  who 
at  once  decides  to  follow  her.  But  he  has  en- 
listed as  a  soldier,  and  is  forbidden  to  leave  the 
ranks.  Sulpice  and  his  whole  regiment  curse 
the  Marchesa  who  thus  carries  away  their  joy. 

In  the  second  act  Mary  is  in  her  aunt's  cas- 
tle. She  has  masters  of  every  kind  for  her  edu- 
cation, in  order  to  become  a  lady  comme  il  faut, 
but  she  cannot  forget  her  freedom  and  her 
dear  soldiers,  and  instead  of  singing  solfeggios 
and  cavatinas  she  is  caught  warbling  her 
"  Rataplan,"  to  the  Marchesa's  grief  and  sor- 
row. Xor  can  she  cease  to  think  of  Tonio,  and 
only  after  a  great  struggle  has  she  been  induced 
to  promise  her  hand  to  a  nobleman,  when  she 
suddenly  hears  the  well-beloved  sound  of  drums 
and  trumpets.  It  is  her  own  regiment,  with 
Tonio  as  their  leader,  for  he  has  been  made  an 
officer  on  account  of  his  courage  and  brave  be- 
havior. Hoping  that  his  altered  position  may 
turn  the  Marchesa's  heart  in  his  favor,  he  again 
asks  for  Mary,  but  his  suit  is  once  more  re- 
jected. Then  he  proposes  flight,  but  the  Mar- 
chesa, detecting  his  plan,  reveals  to  Mary  that 
she  is  not  her  niece,  but  her  own  daughter, 
born  in  early  wedlock  with  an  officer  far  be- 
neath her  in  rank,  who  soon  after  died  in  bat- 
tle. This  fact  she  has  concealed  from  her 
family,  but,  as  it  is  now  evident  that  she  has 
closer  ties  with  Mary,  the  poor  girl  dares  not 
9  129 


The  Standard   Operaglass 

disobey  her,  and,  though  broken-hearted,  con- 
sents to  renounce  Tonio. 

The  Marchesa  invites  a  large  company  of 
guests  to  celebrate  her  daughter's  betrothal  to 
the  son  of  a  neighboring  duchess.  But  Mary's 
faithful  grenadiers  suddenly  appear  to  rescue 
her  from  those  hateful  ties,  and  astonish  the 
whole  company  by  their  recital  of  Mary's  early 
history.  The  obedient  maiden,  however,  sub- 
missive to  her  fate,  is  about  to  sign  the  mar- 
riage contract,  when,  at  last,  the  Marchesa, 
touched  by  her  obedience  and  her  sufferings, 
conquers  her  own  pride  and  consents  to  the 
union  of  her  daughter  with  Tonio.  Sulpice 
and  his  soldiers  burst  out  into  loud  shouts  of 
approbation,  and  the  high-born  guests  retire 
silently  and  disgusted. 


DER   FLIEGENDE   HOLLANDER 

(THE  FLYING  DUTCHMAN) 

Romantic  Opera  in  three  acts  by  WAGNER 

This  fine  opera  is  Wagner's  second  work, 
which  he  composed,  in  direst  need,  when  living 
at  Paris  with  his  young  wife.  The  songs, 
which  so  well  imitate  the  hurricane  and  the 
howling  of  the  ocean,  he  himself  heard  during 
an  awful  storm  at  sea.     The  whole  opera  is  ex- 

130 


Der  Fliegende   Hollander 

ceedingly  characteristic  and  impressive.  "Wag- 
ner arranged  the  libretto  himself,  as  he  did  for 
all  his  operas  which  succeeded  this  one.  He 
found  the  substance  of  it  in  an  old  legeud  that 
dates  from  the  16th  century.  The  flying  Dutch- 
man is  a  sort  of  wandering  Jew,  condemned  to 
sail  for  ever  on  the  seas,  until  he  has  found  a 
woman  whose  love  to  him  is  faithful  unto  death. 

In  the  first  act  we  find  ourselves  on  the  high 
seas.  Daland,  a  Norwegian  skipper,  has  met 
with  several  misfortunes  on  his  way  home,  and 
is  compelled  to  anchor  on  a  deserted  shore. 
There  he  finds  the  flying  Dutchman,  who  vainly 
roves  from  sea  to  sea  to  find  death  and  with  it 
peace.  His  only  hope  is  doomsday.  He  has 
never  found  a  maiden  faithful  to  him,  and  he 
knows  not  how  often  and  how  long  he  has  vainly 
tried  to  be  released  from  his  doom.  Once  every 
seven  years  he  is  allowed  to  go  on  shore  and 
take  a  wife.  This  time  has  now  come  again, 
and  hearing  from  Daland  that  he  has  a  daugh- 
ter, sweet  and  pure,  he  begins  to  hope  once 
more,  and  offers  all  his  wealth  to  the  father  for 
a  shelter  under  the  Norwegian's  roof  and  for 
the  hand  of  his  daughter  Senta.  Daland  is  only 
too  glad  to  accept  for  his  child  what  to  him 
seems  an  immense  fortune,  and  so  they  sail  home 
together. 

In  the  second  act  we  find  Senta  in  the  spin- 
ning-room.    The  servants  of  the  house  are  to- 

131 


The  Standard  Operaglass 

gether,  Bpiuning  and  singing.  Senta  is  amongst 
them,  but  her  wheel  does  not  turn — she  is 
dreamily  regarding  an  old  picture.  It  is  that 
of  the  flying  Dutchman,  whose  legend  so  deeply 
touches  her  that  she  has  grown  to  love  its  hero, 
without  having  in  reality  seen  him. 

Senta  has  a  wooer  already  in  the  person  of 
Erick  the  hunter,  but  she  does  not  care  much 
for  him.  With  deep  feeling  she  sings  to  the 
spinning  maidens  the  ballad  of  the  doomed, 
man,  as  she  has  heard  it  from  Mary,  her  nurse: 

An  old  captain  wanted  to  sail  round  the 
Cape  of  Good  Hope,  and  as  the  wind  was 
against  him  he  swore  a  terrible  oath  that  he 
never  would  leave  off  trying.  The  devil  heard 
him,  and  doomed  him  to  sail  on  to  eternity,  but 
God's  angel  had  pity  on  him,  and  showed  him 
how  he  could  find  deliverance  through  a  wife, 
faithful  unto  the  grave. 

All  the  maidens  pray  to  God  to  let  the 
maiden  be  found  at  last,  when  Senta  ecstatically 
exclaims:  "  I  will  be  his  wife  !  "  At  this  mo- 
ment her  father's  ship  is  announced.  Senta  is 
about  to  run  away  to  welcome  him,  but  is  de- 
tained by  Erick,  who  tries  to  win  her  for  him- 
self. She  answers  evasively;  then  Daland  en- 
ters and  with  him  a  dark  and  gloomy  stranger. 
Senta  stands  spell-bound;  she  recognizes  the 
hero  of  her  picture.  The  Dutchman  is  not  less 
impressed,  seeing  in  her  the  angel  of  his  dreams 

133 


Der  Fliegende   Hollander 

and,  as  it  were,  his  deliverer,  and  so,  meeting  by 
the  guidauce  of  a  superior  power,  tbey  seem 
created  for  eacb  otber,  and  Senta,  accepting 
the  offer  of  bis  band,  swears  to  bim  eternal 
fidelity. 

In  tbe  third  act  we  see  the  flying  Dutchman's 
ship;  everybody  recognizes  it  by  its  black  mast 
and  its  blood-red  sail.  The  Norwegian  sailors 
call  loudly  to  tbe  mariners  of  the  strange  ship, 
but  nothing  stirs — everything  seems  dead  and 
haunted.  At  last  the  unearthly  inhabitants  of 
the  Dutch  ship  awake;  they  are  old  and  gray 
and  wrinkled,  all  doomed  to  the  fate  of  their 
captain.  They  begin  a  wild  and  gloomy  song, 
which  sends  a  chill  into  the  hearts  of  the  stout 
Xorwegians. 

Meanwhile  Erick,  beholding  in  Senta  the  be- 
trothed of  the  Dutchman,  is  in  despair.  Im- 
ploring her  to  turn  back,  he  calls  up  old  mem- 
ories and  at  last  charges  her  with  infidelity  tc 
him. 

As  60on  as  the  Dutchman  hears  this  accusa- 
tion he  turns  from  Senta,  feeling  that  he  is 
again  lost.  But  Senta  will  not  break  her  faith. 
Seeing  the  Dutchman  fly  from  her,  ready  to 
sail  away,  she  swiftly  runs  after  him  and  throws 
herself  from  the  cliff  into  the  waves. 

By  this  sacrifice  the  spell  is  broken,  the 
ghostly  ship  sinks  for  ever  into  the  ocean,  and 
an   angel   bears  the   poor  wanderer  to  eternal 

i33 


The  Standard   Operaglass 

rest,  where  he   is  reunited  to   the  bride   who 
has  proved  faithful  unto  death. 


THE   FOLKUNGS 

Grand  Opera  in  five  acts  by  EDMUND  KRETSCHMER 
Text  by  MOSENTHAL 

The  composer  of  this  opera  evidently  belongs 
to  the  most  talented  of  our  days,  and  it  is  no 
wonder  that  his  two  operas,  "  Henry  the  Lion  " 
and  "  The  Folkungs,"  have  rapidly  found  their 
way  to  every  stage  of  importance.  Particu- 
larly "The  Folkungs"  is  such  a  happy  combi- 
nation of  modern  orchestration,  abundance  of 
fine  melody,  and  northern  characteristic  color- 
ing, that  it  charms  the  connoisseur  as  well  as 
the  unlearned. 

The  scene  is  laid  in  Sweden,  in  the  13th  cen- 
tury. 

The  first  act  represents  the  convent  Nydal  on 
the  snowy  heights  of  the  Kydles.  Sten  Patrife, 
the  confidant  and  abettor  of  Bengt,  Duke  of 
Schoonen,  has  allured  Prince  Magnus,  second 
son  of  King  Erick  of  Sweden,  to  follow  him 
out  of  his  convent,  and  has  brought  him  hither 
by  ruse  and  force.  He  now  announces  to  the 
Prince  that  he  may  choose  between  death  and 

134 


The  Folkungs 

a  nameless  life  in  the  convent  Nydal,  and  Mag- 
nus, having  no  choice,  swears  on  Sten's  sword 
that  he,  Prince  Magnus,  will  be  forever  dead  to 
the  world* 

The  monks  receive  him  into  their  brother- 
hood, as  he  answers  to  the  Abbot  Ansgar's  ques- 
tions that  he  is  an  orphan,  homeless,  aban- 
doned, seeking  peace  only.  The  Abbot  first 
subjects  Magnus  to  a  trial  of  his  constancy,  by 
letting  him  hold  the  night  vigil  in  storm  and 
snow.  The  monks  retire,  leaving  the  unhappy 
Prince  outside  the  gates.  While  he  sinks  into 
deep  reverie,  Lars  Olafson,  the  castellan  of  the 
King's  castle  of  Bognas,  and  son  of  the  Prince's 
nurse,  appears.  He  seeks  his  Prince,  who  so 
mysteriously  disappeared  from  the  world,  and 
relates  to  Magnus  that  King  Erick  is  dead,  as 
well  as  his  eldest  son,  and  that  Prince  Magnus 
is  called  to  come  and  claim  his  throne  and 
bride.  Princess  Maria,  the  only  surviving  Folk- 
ung,  is  already  being  wooed  by  their  enemy, 
Duke  Bengt  of  Schoonen,  and  now  the  listener 
understands  the  vile  plot  against  himself.  And 
as  Lars  calls  him  to  defend  his  country  and  his 
Princess  against  the  Duke  and  his  confederates 
the  Danes,  Magnus  considers  it  a  sign  from 
Heaven  that  he  is  to  die  for  his  country,  a  course 
of  action  which  his  oath  does  not  prohibit. 

When  the  Abbot  calls  his  new  guest,  he  has 
disappeared,  and  Sten  Patrik  consoles  himself 

i35 


The  Standard  Operaglass 

with  the  thought  that  the  fugitive  must  have 
perished  in  the  raging  snow-storm. 

The  second  act  shows  us  Princess  Maria  in 
her  castle  Bognas  on  the  lake  of  Malar.  She  is 
the  King's  niece  and.  successor  to  the  throne. 
She  takes  a  last  farewell  from  her  people,  and 
Bengt  appears  to  lead  her  to  Upsala  for  the 
coronation. 

The  nurse  Karin  and  her  son  Olaf  assure  her 
of  her  folk's  fidelity,  and  when  she  has  de- 
parted Lars  calls  the  men  together  and,  pre- 
senting the  youth  from  Skolen  as  their  leader, 
makes  them  take  oath  of  faith  on  their  stand- 
ard. Karin  recognizes  the  Prince  in  the 
stranger,  but  he  firmly  denies  his  identity,  and 
with  glowing  words  calls  the  people  to  rise 
against  their  common  foe. 

The  next  scene  begins  with  the  act  of  corona- 
tion. The  crowned  Queen  Maria  is  to  announce 
her  choice  of  a  husband  from  the  Mora-stone, 
when  her  words  are  arrested  by  a  look  from 
Magnus,  in  whom  she  recognizes  the  youth  she 
loved. 

But,  though  almost  mad  with  longing  and 
torment,  Magnus,  mindful  of  his  oath,  still 
denies  himself,  and  the  Duke  and  his  friend 
Sten,  who  both  believe  themselves  lost,  im- 
petuously demand  the  impostor's  arrest.  But 
the  Queen  asserts  her  right  to  judge  him  her- 
self.    In  the  fourth  act  Magnus  is  brought  to 

136 


The  Folkungs 

his  mother's  sleeping  room.  The  charm  of 
youthful  remembrances  surrounds  him,  and 
hearing  an  old  ballad,  which  Karin  sings,  he 
forgets  himself  and  so  proves  his  identity  be- 
yond any  doubt  to  the  hidden  listeners.  Maria 
rushes  forward ;  he  folds  her  to  his  breast  in  a 
transport  of  loye,  and  only  when  Karin  greets 
him  as  her  King  he  remembers  that  he  has 
broken  his  oath,  and,  without  more  reflection, 
precipitates  himself  from  the  balcony  into  the 
sea.     Maria  sinks  back  in  a  swoon. 

In  the  last  act  Sten  Patrik  comes  to  remind 
Bengt  of  his  promise  to  give  him  Schoonen. 
The  Duke  refuses  to  pay  him,  now  that  Sweden 
is  in  revolt  and  the  Prince  living.  Sten  threat- 
ens to  reveal  his  treachery  against  Magnus. 
Bengt  is  about  to  kill  the  only  accomplice  in 
his  deed,  when  Maria,  who  has  heard  all,  arrests 
his  arm,  and  accuses  him  of  murder.  Then  she 
rushes  to  the  balcony  to  call  her  people  to  ven- 
geance. Bengt  draws  his  sword  to  stab  her,  but 
the  people  throng  in,  seize  and  throw  him  into 
the  sea.  Xow  Maria  hears  with  rapture  that 
.Ma'Mius  lives  and  has  driven  awav  the  Danes. 
With  him  enter  the  monks,  whose  Abbot  releases 
the  Prince  from  his  oath.  Maria,  lovingly  em- 
bracing him,  places  her  crown  on  her  bride- 
groom's head  and  all  cry  hail  !  to  their  King 
Magnus  Ericson. 


137 


The  Standard   Operaglass 
FRA  DIAYOLO 

Comic  Opera  in  three  acts  by  AUBER 
Text  by  SCRIBE 

This  is  a  nice  little  opera;  though  not  equal 
in  beauty  and  perfection  to  the  "  Muette  de 
Portici,"  by  the  same  author,  it  is,  notwithstand- 
ing, a  happy  invention  of  Auber's,  particularly 
because  the  local  tints  are  so  well  caught.  The 
banditti  are  painted  with  bright  and  glowing 
colors,  and  the  part  of  the  heroine  Zerline  is 
the  most  grateful  ever  written  for  a  soubrette. 
The  text  by  Scribe  abounds  in  happy  sallies  and 
lively  details.  It  is  laid  at  Terracina  in  Italy. 
Fra  Diavolo  is  a  celebrated  and.  much  feared 
chief  of  brigands.  The  Koman  court  of  justice 
has  set  a  price  of  10,000  piastres  on  his  head. 
In  the  first  act  we  meet  with  the  Eoman  sol- 
diers who  undertake  to  win  the  money.  Their 
captain,  Lorenzo,  has  a  double  aim  in  trying  to 
catch  the  brigand.  He  is  Zerline's  lover,  but, 
having  no  money,  Zerline's  father  Matteo,  the 
owner  of  a  hotel,  threatens  to  give  her  to  a  rich 
farmer's  son.  Meanwhile  Fra  Diavolo  has 
forced  his  society  on  a  rich  English  lord,  Cook- 
burn  by  name,  who  is  on  his  wedding-tour  with 
his  fair  young  wife  Pamela.  Lord  Cookburn 
looks  jealously  at  Fra  Diavolo,  though  he  does 

138 


Fra  Diavolo 

not  recognize  in  him  a  brigand.  The  English 
are  robbed  by  Diavolo's  band.  Disgusted  with 
the  insecurity  of  "  la  bella  Italia  "  they  reach 
the  inn  at  Terraciua,  where  the  dragoons,  hear- 
ing the  account  of  this  new  robbery,  believe  that 
it  was  Fra  Diavolo  with  his  baud,  and  at  once 
decide  to  pursue  him. 

Shortly  afterwards  Fra  Diavolo  arrives  at  the 
inn,  disguised  as  the  Marquis  of  San  Marco, 
under  which  name  the  English  lord  has  already 
made  his  acquaintance.  He  is  not  enchanted 
by  the  arrival  of  this  Marquis;  he  fears  a  new 
flirtation  with  his  own  fair  wife.  Pamela  wears 
most  valuable  diamonds,  and  these  strike  the 
eye  of  Fra  Diavolo. 

He  sees  that  the  English  have  been  clever 
enough  to  conceal  the  greater  part  of  their 
wealth,  and  resolves  to  put  himself  speedily  into 
possession  of  it. 

He  is  flirting  desperately  with  Pamela,  and 
looking  tenderly  at  the  pretty  Zerline,  when  the 
soldiers  return,  having  captured  twenty  of  the 
brigands  and  retaken  the  greater  part  of  Lord 
Cookburn's  money  and  jewels.  Lorenzo,  the 
captain  of  dragoons,  is  rewarded  by  the  mag- 
nanimous lord  with  10,000  lire,  and  may  now 
hope  to  win  Zerline's  hand.  But  Fra  Diavolo 
vows  to  avenge  the  death  of  his  comrades  on 
Lorenzo. 

In  the  second  act  he  conceals  himself  behind 

139 


The  Standard  Operaglass 

the  curtains  in  Zerline's  sleeping-room,  and  dur- 
ing the  night  he  admits  his  two  companions, 
Beppo  and  Giacomo.  Zerline  enters  and  is 
about  to  retire  to  rest,  after  prayiug  to  the 
Holy  Virgin  for  protection.  During  her  sleep 
Giacomo  is  to  stab  her,  while  the  two  others  are 
to  rob  the  English  milord. 

But  Zerline's  prayer  and  her  innocence  touch 
even  the  robbers,  the  deed  is  delayed,  and  this 
delay  brings  Lorenzo  upon  them.  Fra  Diavolo's 
two  companions  hide  themselves,  and  the  false 
Marquis  alone  is  found  in  Zerline's  room.  He 
assures  Lorenzo  that  he  had  a  rendezvous  with 
his  bride,  and  at  the  same  time  whispers  into 
milord's  ear  that  he  came  by  appointment  with 
milady,  showing  her  portrait,  of  which  he  had 
robbed  her  the  day  before,  as  proof.  The  con- 
sequence of  these  lies  is  a  challenge  from  Lo- 
renzo, and  a  meeting  with  Diavolo  is  fixed.  The 
latter  is  full  of  triumphant  glee;  he  has  ar- 
ranged a  deep-laid  plan  with  the  surviving 
members  of  his  band,  and  hopes  to  ensnare  not 
only  Lorenzo  but  his  whole  company.  Ordi- 
narily Diavolo  is  a  noble  brigand;  he  never 
troubles  women,  and  he  loads  poor  people  with 
gifts,  taking  the  gold  out  of  rich  men's  purses 
only,  but  now  he  is  full  of  ire,  and  his  one 
thought  is  of  vengeance. 

Finally  he  is  betrayed  by  the  carelessness  of 
his  own  helpmates.     Reppo  and  Giacomo,  see- 

140 


Frauenlob 

ing  Zerline,  recognize  in  her  their  fair  prey  of 
the  evening  before,  and  betray  themselves  by  re- 
peating some  of  the  words  which  she  had  given 
utterance  to.  Zerline,  hearing  them,  is  now 
able  to  comprehend  the  wicked  plot  which  was 
woven  to  destroy  her  happiness.  The  two  ban- 
ditti are  captured,  and  compelled  to  lure  their 
captaiii  into  a  trap.  Diavolo  appears,  not  in 
his  disguise  as  a  Marquis,  but  in  his  own  well- 
known  dress,  with  the  red  plume  waving  from 
his  bonnet,  and,  being  assured  by  Beppo  that 
all  is  secure,  is  easily  captured.  Now  all  the 
false  imputations  are  cleared  up.  Milord  is 
reconciled  to  his  wife,  and  Lorenzo  obtains  the 
hand  of  the  lovely  Zerline. 


FKATTENLOB 

Opera  in  three  acts  by  REINHOLD  BECKER 

Text  by  FRANZ  KOPPEL-ELLFELD 

Becker,  the  well-known  Dresden  composer, 
has  long  won  name  and  fame  by  his  beautiful 
songs,  which  may  be  heard  all  over  the  Conti- 
nent, lie  is  a  first-rate  "  Liedermeister,"  and 
great  was  the  excitement  with  which  his  friends 
looked  forward  to  his  first  opera. 

Their  expectations  were  not  deceived,  for  the 

1 4.1 


The  Standard  Operaglass 

opera  was  put  on  the  stage  in  Dresden  on  De- 
cember 8,  1892,  and  was  received  with  unani- 
mous applause. 

Becker  is  not  one  of  those  high-flown  artists 
who  elevate  us  to  the  skies;  he  rather  lacks 
dramatic  strength;  the  lyric  element  is  his 
strong  point.  By  the  Lied  he  finds  his  way 
direct  to  the  hearts  of  his  hearers,  and  wher- 
ever this  could  be  woven  into  the  action  of  his 
opera  he  has  done  it  with  subtle  taste.  Tilda's 
dancing-air  in  the  first  act,  the  evening  song — 
sung  while  the  people  are  gliding  down  the 
Rhine  in  boats,  whose  lovely  variations  remind 
us  of  quaint  old  airs  of  bygone  days — the  chorus 
of  the  stone-masons  in  the  second  act,  and  the 
love  duet  in  the  third  are  brilliant  gems  in 
Becker's  music. 

The  libretto  rivals  the  best  of  its  kind. 

The  scene  is  laid  near  and  in  Maintz  in  the 
year  1308;  it  takes  place  during  the  reign  of 
Ludwig,  Emperor  of  Bavaria. 

Heinrich  Frauenlob,  the  famous  minstrel, 
who  had  won  his  name  by  his  songs  in  women's 
praise,  is  by  birth  a  knight,  Dietherr  zur 
Meise.  Years  ago  he  slew  the  Truchsess  of 
Maintz  in  self-defense,  and  having,  therefore, 
become  an  outlaw,  had  entered  the  service  of 
the  Emperor.  In  the  beginning  of  the  opera 
we  find  him,  however,  near  Maintz,  where  he 
stays  as  a  guest  at  his  friend  Wolf's    castle. 

142 


Frauenlob 

He  takes  part  in  the  people's  festival  on  Mid- 
summer day,  deeming  himself  unknown. 

When  the  customary  St.  John's  fire  is  lighted, 
no  one  dares  leap  over  it,  for  fear  of  an  old 
gipsy's  prophecy  which  threatened  with  sud- 
den death  the  first  who  should  attempt  it. 
Frauenlob,  disregarding  the  prophecy,  per- 
suades Hildegund,  Ottker  von  Scharfenstein's 
fair  ward,  to  venture  through  the  fire  with 
him.  Hildegund  is  the  slain  Truchsess's  daugh- 
ter, and  has  sworn  to  wed  the  avenger  of  her 
father's  death  ;  but  each  lover  is  unconscious  of 
the  other's  name.  The  gipsy  Sizyga  alone,  who 
had  been  betrayed  in  her  youth  by  Frailer 
lob's  father,  recognizes  the  young  knight,  and 
though  he  has  only  just  saved  the  old  hag 
from  the  people's  fury,  she  wishes  to  avenge 
her  wrongs  on  him.  To  this  end  she  betrays 
the  secret  of  Frauenlob's  birth  to  Hildegund's 
suitor,  Servazio  di  Bologna,  who  is  highly  jeal- 
ous of  this  new  rival,  and  determines  to  lay 
hands  on  him  as  soon  as  he  enters  the  gates  of 
Maintz.  Frauenlob,  though  warned  by  Sizyga, 
enters  Maintz,  attracted  by  Hildegund's  sweet 
graces;  he  is  determined  to  confess  everything, 
and  then  to  fly  with  her,  should  she  be  willing 
to  follow  him. 

The  second  act  opens  with  a  fine  song  of  the 
warder  of  the  tower.  The  city  awakes  ;  the 
stone-masons  assemble,  ready  to  greet  the  Em- 

143 


The  Standard   Operaglass 

peror,  whose  arrival  is  expected.  Tilda,  Hilde- 
gund's  friend,  and  daughter  of  Klas,  chief  of 
the  stone-masons,  is  going  to  church,  but  on  her 
way  she  is  accosted  by  the  knight  Wolf,  who 
has  lost  his  heart  to  her,  and  now,  forgetting 
his  plan  to  look  for  Frauenlob,  follows  the  lovely 
damsel.  When  Frauenlob  comes  up  and  sees 
again  the  well-known  places  of  his  youth,  he  is 
deeply  touched  ;  bat  seeing  his  lady-love  step  on 
the  balcony  and  soon  after  come  clown  to  enter 
the  dome,  he  accosts  her,  imploring  her  to  fly 
with  him.  At  this  moment  Servazio,  who  has 
lain  in  wait,  steps  forth  with  officers,  who  cap- 
ture Frauenlob.  Servazio  now  reveals  the  sing- 
er's secret,  and  Hildegund  hears  that. her  lover  is 
her  father's  murderer.  Though  Frauenlob  tells 
Hildegund  that  he  killed  her  father  in  self-de- 
fence, she  turns  from  him  shuddering.  Feeling 
that  all  hopes  of  his  future  happiness  are  at  an 
end,  he  washes  to  atone  for  his  deed  by  death, 
refusing  the  lielp  of  Wolf,  who  comes  up  with 
his  men  to  release  him.  But  the  stone-masons, 
having  recognized  the  celebrated  minstrel,  with 
whose  song  they  are  about  to  greet  the  Em- 
peror, decide  to  invoke  the  latter's  clemency. 

In  the  third  act  the  citizens  of  Maintz  hail 
the  Emperor,  after  which  Frauenlob's  cause  is 
brought  before  him.  The  whole  population  de- 
mands his  pardon,  and  the  monarch,  who  loves 
the  singer,  would   fain  liberate  him,   had  not 

144 


Frauenlob 

Servazio  roughly  insisted  on  the  culprit's  pun- 
ishment. Uncertain  what  to  do,  the  Emperor 
receives  a  long  procession  of  ladies,  with  Tilda 
at  its  head,  >vho  all  beseech  pardon  for  Frauen- 
lob. At  last  the  Emperor  calls  for  Hildegund, 
leaving  in  her  hands  tbe  destiny  of  tbe  pris- 
oner. Left  alone  with  him,  the  latter,  prepared 
to  die,  only  craves  her  pardon.  After  a  hard 
struggle  with  her  conscience,  love  conquers,  and 
she  grants  him  pardon.  "When  the  Emperor 
re-entei's  with  his  suite,  to  hear  the  sentence, 
they  find  the  lovers  in  close  embrace.  To  the 
joy  of  everybody,  the  monarch  sanctions  the 
union  and  orders  the  nuptials  to  be  celebrated 
at  once.  Another  pair,  Wolf  and  Tilda,  are 
also  made  happy.  But  Servazio  vows  ven- 
geance. Sizyga  having  secretly  slipped  a  powder 
into  his  hands,  he  pours  it  into  a  cup  of  wine, 
which  he  presents  to  Frauenlob  as  a  drink  of 
reconciliation.  The  Emperor,  handing  the  gob- 
let to  Hildegund,  bids  her  drink  to  her  lover. 
Testing  it,  she  at  once  feels  its  deadly  effect. 
Frauenlob,  seeing  his  love  stagger,  snatches  the 
cup  from  her,  emptying  it  at  one  draught.  He 
dies,  still  praising  the  Emperor  and  women, 
breathing  the  name  of  his  bride  with  his  last 
breath.  Servazio  is  captured;  and  while  Hildo- 
gund's  body  is  strewn  with  roses,  the  wailing 
women  of  Maintz  carry  their  beloved  minstrel 
to  his  grave. 

10  145 


The  Standard   Operaglass 


DEE  FKEISCHUTZ 

Romantic  Opera  in  three  acts  by  C.  M.  VON  WEBER 
Text  by  FRIEDRICH  KIND 

This  charming  opera,  done  at  Dresden  1820, 
is  the  most  favored  of  Weber's  compositions. 
It  is  truly  German,  being  both  fantastic  and 
poetic.  The  libretto  is  an  old  German  legend, 
and  runs  thus : 

A  young  huntsman,  Max,  is  in  love  with 
Agathe,  daughter  of  Cuno,  the  chief  ranger  of 
Prince  Ottocar  of  Bohemia.  Max  wooes  her; 
but  their  union  depends  on  a  master  shot 
which  he  is  to  deliver  on  the  following  morn- 
ing. 

During  a  village  festival  he  has  all  day  been 
unlucky  in  shooting,  and  we  see  him  full  of 
anger  and  sorrow,  being  mocked  at  by  peasants 
more  lucky  than  he. 

His  comrade,  Caspar,  one  of  the  ranger's 
older  huntsmen,  is  his  evil  genius.  He  has  sold 
himself  to  the  devil,  is  a  gloomy,  mysterious 
fellow,  and  hopes  to  save  his  soul  by  delivering 
some  other  victim  to  the  demon.  He  wants  to 
tempt  Max  to  try  enchanted  bullets,  to  be  ob- 
tained at  the  cross-road,  during  the  midnight 
hour,  by  drawing  a  magic  circle  with  a  bloody 
sword  and  invoking  the  name  of  the  mysterious 

146 


Der  Freischiitz 

huntsman.  Father  Cuno,  hearing  him,  drives 
him  away,  begging  Max  to  think  of  his  bride 
and  to  pray  to  God  for  success. 

But  Max  cannot  forget  the  railleries  of  the 
peasants  ;  he  broods  over  his  misfortunes,  and 
when  he  is  well-nigh  despairing,  Caspar,  who 
meanwhile  calls  Samiel  (the  devil  in  person)  to 
help,  encourages  him  to  take  refuge  in  stimu- 
lants. He  tries  to  intoxicate  the  unhappy  lover 
by  pouring  drops  from  a  phial  into  his  wine. 
When  Max  has  grown  more  and  more  excited, 
Caspar  begins  to  tell  him  of  nature's  secret 
powers,  which  might  help  him.  Max  first 
struggles  against  the  evil  influence,  but  when 
Caspar,  handing  him  his  gun,  lets  him  shoot 
an  eagle  soaring  high  in  the  air,  his  huntman's 
heart  is  elated,  and  he  wishes  to  become  pos- 
sessed of  such  bullet.  Caspar  tells  him  that  they 
are  enchanted,  and  persuades  him  to  a  meeting 
in  the  Wolf's  Glen  at  midnight,  where  the  bul- 
lets may  be  moulded. 

In  the  second  act  Agathe  is  with  her  cousin 
Annchen.  Agathe  is  the  true  German  maiden, 
serious  and  thoughtful  almost  to  melancholy. 
She  presents  a  marked  contrast  to  her  gay  and 
light-hearted  cousin,  who  tries  to  brighten 
Agathe  with  fun  and  frolic.  They  adorn  them- 
selves with  roses,  which  Agathe  received  from  a 
holy  hermit,  who  blessed  her,  but  warned  her 
of  impending  evil.     So  Agathe  is  full  of  dread 

i47 


The  Standard   Operaglass 

forebodings,  and  after  Annclien's  departure 
she  fervently  prays  to  Heaven  for  her  beloved. 
When  she  sees  him  come  to  her  through  the 
forest  with  flowers  on  his  hat,  her  fears  vanish, 
and  she  greets  him  joyously.  But  Max  only 
answers  hurriedly  that,  having  killed  a  stag  in 
the  Wolf's  Grlen,  he  is  obliged  to  return  there. 
Agathe,  filled  with  terror  at  the  mention  of  this 
ill -famed  name,  wants  to  keep  him  back,  but 
ere  she  can  detain  him  he  has  fled.  With 
hurried  steps  Max  approaches  the  Wolf's  Glen, 
where  Caspar  is  already  occupied  in  forming 
circles  of  black  stones,  In  the  midst  of  which  he 
jflaces  a  skull,  an  eagle's  wing,  a  crucible,  and  a 
bullet  mould.  Caspar  then  calls  on  Samiel,  in- 
voking him  to  allow  him  a  few  more  years  on 
earth.  To-morrow  is  the  day  appointed  for 
Satan  to  take  his  soul,  but  Caspar  promises  to 
surrender  Max  in  exchange.  Samiel,  who  ap- 
pears through  the  cleft  of  a  rock,  agrees  to  let 
him  have  six  of  the  fatal  balls,  reserving  only 
the  seventh  for  himself. 

Caspar  then  proceeds  to  make  the  bullets, 
Max  only  looking  on,  stunned  and  remorseful 
at  what  he  sees.  His  mother's  spirit  appears 
to  him;  but  he  is  already  under  the  influence  of 
the  charm  ;  lie  cannot  move.  The  proceeding 
goes  forward  amid  hellish  noise.  A  hurricane 
arises,  flames  and  devilish  forms  flicker  about, 
wild  and  horrible  creatures  rush  by,  and  others 

148 


•  Der  Freischutz 

follow  in  hot  pursuit.  The  noise  grows  worse, 
the  earth  seems  to  quake,  until,  at  length,  after 
Caspar's  reiterated  invocations,  Samiel  shows 
himself  at  the  word,  "seven."  Max  and  Cas- 
par both  make  the  sign  of  the  cross,  and  fall  on 
their  knees  more  dead  than  alive. 

In  the  third  act  we  find  Agathe  waiting  for 
her  bridesmaids.  She  is  perturbed  and  sad, 
having  had  frightful  dreams,  and  not  knowing 
what  has  become  of  Max.  Annchen  consoles 
her,  diverting  her  with  a  merry  song  until  the 
bridesmaids  enter,  bringing  flowers  and  gifts. 
They  then  prepare  to  crown  her  with  the  bridal 
wreath,  when,  lo!  instead  of  the  myrtle,  there 
lies  in  the  box  a  wreath  of  white  roses,  the  orna- 
ment of  the  dead. 

Meanwhile  everybody  is  assembled  on  the  lawn 
near  Prince  Ottocar's  tent,  to  be  present  at  the 
firing  of  the  master  shot.  The  Prince  points 
out  to  Max  a  white  dove  as  an  object  at  which 
to  aim.  At  this  critical  moment  Agathe  ap- 
pears, crying  out:  "Don't  shoot,  Max,  I  am 
the  white  dove  !  "  But  it  is  too  late;  Max  has 
fired,  and  Agathe  sinks  down  at  the  same  time 
as  Caspar,  who  has  been  waiting  behind  a  tree, 
and  who  now  falls  heavily  to  the  ground,  while 
the  dove  flies  away  unhurt.  Everybody  believes 
that  Max  has  shot  his  bride,  but  she  is  only  in  a 
swoon;  the  bullet  has  really  killed  the  villain 
Caspar.     It  was  the  seventh,  the  direction  of 

149 


The  Standard  Operaglass 

which  Samiel  reserved  for  himself,  and  Satan 
having  no  power  over  the  pious  maiden,  directed 
it  on  Caspar,  already  forfeited  to  him.  Max 
confesses  his  sin  with  deep  remorse.  The  Prince 
scornfully  bids  him  leave  his  dominions  for 
ever.  But  Agathe  prays  for  him,  and  at  last 
the  Prince  follows  the  hermit's  advice,  giving 
the  unhappy  youth  a  year  of  probation,  during 
which  to  prove  his  repentance  and  grow  worthy 
of  his  virtuous  bride. 


FKIEND   FKITZ 

A  lyric  Comedy  in  three  acts  by  PIETRO  MASCAGNI 
Text  after  ERCKMANN-CHATEIAN'S  novel  of  the  same  name 

After  the  immense  success  of  Cavalleria  Rus- 
ticana,  the  first  representation  of  Amico  Fritz 
was  awaited  with  feverish  impatience  by  the 
whole  musical  world. 

But  the  high-strung  expectations  were  not 
fulfilled.  Though  many  pretended  that  the 
music  was  nobler  and  more  artistic  than  that  of 
the  author's  first  work,  the  success  was  by  no 
means  as  great  as  Mascagni's  friends  anticipated. 
In  Vienna  and  Berlin  it  was  even  received  with 
partial  coolness.  But,  lo!  the  first  representa- 
tion in  Dresden  on  June  2,  1892,  took  place 
with  a  marked  and  decided  success. 

150 


Friend  Fritz 

The  artistically  trained  orchestra  brought  out 
to  perfection  all  the  finesses,  all  the  delightful 
shades  of  the  music,  and  since  that  day  the 
opera  has  not  failed  to  bring  a  full  house. 

The  subject  in  itself  is  too  simple  for  Mas- 
cagni's  strong  dramatic  talent,  hence  the  lack 
of  interest,  hence  the  disillusion  of  so  many. 

Granting  this,  we  cannot  but  admire  the 
genius  which  can  compose  an  opera  so  full  of 
refined  and  noble  sentiment,  based  on  such  a 
simple  plot. 

No  music  more  charming  than  the  march, 
taken  as  well  as  the  Pastorale  from  a  national 
Alsacian'  song,  none  more  sweet  and  melodi- 
ous than  the  Intermezzo  and  the  Cherry  duet. 
The  finely  depicted  details  in  the  orchestra  are 
a  delight  for  musical  ears. 

The  simple  text  follows  strictly  the  French 
original. 

Fritz  Kobus,  a  well-to-do  landowner,  receives 
the  felicitations  of  his  friends  on  his  fortieth 
birthday.  At  the  same  time  his  old  friend 
Rabbi  David,  as  consummate  a  match-maker 
as  Fritz  is  an  inveterate  bachelor,  receives  from 
the  latter  a  loan  of  1,200  francs,  which  is  to  en- 
able a  poor  girl  to  marry  her  lover.  Fritz  gives 
it  very  graciously,  congratulating  himself  that 
he  is  free  from  hymen's  bonds. 

lie  treats  his  friends  to  a  hearty  dinner,  in 
which  Susel,  his  tenant's  daughter,  who  comes 

15* 


The  Standard  Operaglass 

to  present  her  landlord  with  a  nosegay  of  vio- 
lets, joins.  Fritz  makes  her  sit  beside  him,  and 
for  the  first  time  remarks  the  growing  loveliness 
of  the  young  maiden.  While  they  are  feasting, 
a  gipsy  Seppel  plays  a  serenade  in  honor  of 
the  birthday,  which  makes  a  deep  impression  on 
fair  Susel.  When  the  latter  has  departed,  the 
joviality  of  the  company  increases.  Hanczo  and 
Friedrich,  two  friends,  laughingly  prophesy  to 
the  indignant  Fritz  that  he  will  soon  be  mar- 
ried, and  David  even  makes  a  bet,  which,  should 
lie  prove  right,  will  make  him  owner  of  one  of 
his  friend's  vineyards.  At  the  end  of  the  first 
act  a  procession  of  orphans  hail  the  landlord  as 
their  benefactor. 

In  the  second  act  we  find  our  friend  Fritz  as 
guest  in  the  house  of  his  tenant.  Susel  is  sedu- 
lously engaged  in  selecting  flowers  and  cherries 
for  her  landlord,  who,  coming  down  into  the 
garden,  is  presented  by  her  with  flowers.  Soon 
she  mounts  a  ladder,  and,  plucking  cherries, 
throws  them  to  Fritz,  who  is  uncertain  which 
are  the  sweeter,  the  maiden's  red  lips,  or  the 
ripe  cherries  which  she  offers  him.  In  the 
midst  of  their  enjoyment  the  sound  of  bells  and 
crackling  of  whips  is  heard;  Fritz's  friends  en- 
ter. He  soon  takes  them  off  for  a  walk;  only 
old  David  stays  behind  with  Susel,  pleading 
fatigue.  Taking  occasion  of  her  presenting  him 
with  a  drink  of  fresh  water,  he  makes  her  tell 

152 


Friend  Fritz 

him  the  old  story  of  Isaac  and  Rebecca,  and  is 
quite  satisfied  to  guess  at  the  state  of  her  feel- 
ings by  the  manner  in  which  she  relates  the  sim- 
ple story.  On  Fritz's  return  he  archly  com- 
municates to  him  that  he  has  found  a  suitable 
husband  for  Susel,  and  that  he  has  her  father's 
consent.  The  disgust  and  fright  which  Fritz 
experiences  at  this  news  reveal  to  him  some- 
thing of  his  own  feelings  for  the  charming 
maiden.  He  decides  to  return  home  at  once, 
and  does  not  even  take  farewell  of  Susel,  who 
weeps  in  bitter  disappointment. 

In  the  third  act  Fritz,  at  home  again,  can 
find  no  peace  anywhere.  When  David  tells 
him  that  Susel's  marriage  is  a  decided  fact  he 
breaks  out,  and  in  his  passion  downright  for- 
bids the  marriage.  At  this  moment  Susel  ap- 
pears, bringing  her  landlord  a  basket  of  fruit. 
She  looks  pale  and  sad;  and  when  Fritz  sarcas- 
tically asks  her  whether  she  comes  to  invite  him 
to  her  wedding,  she  bursts  into  tears.  Then 
the  real  state  of  her  heart  is  revealed  to  him, 
and  with  passionate  avowal  of  his  own  love, 
Aniico  Fritz  takes  her  to  his  heart.  So  David 
wins  his  wager,  which,  however,  he  settles  on 
Susel  as  a  dowry,  promising  at  the  same  time  to 
procure  wives  before  long  for  the  two  friends 
standing  by. 


153 


The  Standard   Opeiaglass 
GENOYEVA 

Opera  in  four  acts  by  ROBERT  SCHUMANN 
Text  after  HEBBEL  and  TIECK 

The  music  of  this  opera  is  surpassingly  de- 
lightful. Though  Schumann's  genius  was  not 
that  of  a  dramatist  of  a  very  high  order,  this 
opera  deserves  to  be  known  and  esteemed  univer- 
sally. Nowhere  can  melodies  be  found  finer  or 
more  poetical  and  touching  than  in  this  noble 
musical  composition,  the  libretto  of  which  may 
also  be  called  interesting,  though  it  is  faulty  in 
its  want  of  action. 

It  is  the  old  legend  of  Genoveva  somewhat 
altered.  Siegfried,  Count  of  the  Palatinate,  is 
ordered  by  the  Emperor  Charles  Martell  to  join 
him  in  the  war  with  the  infidels  who  broke 
out  of  Spain  under  Abdurrahman.  The  noble 
Count  recommends  his  wife  Genoveva  and  all 
he  possesses  to  the  protection  of  his  friend 
Golo,  who  is,  however,  secretly  in  love  with  his 
master's  wife.  After  Siegfried  has  said  fare- 
well, she  falls  into  a  swoon,  which  Golo  takes 
advantage  of  to  kiss  her,  thereby  still  further 
exciting  his  flaming  passion.  Genoveva  finally 
awakes  and  goes  away  to  mourn  in  silence  for 
her  husband. 

Golo  being  alone,  an  old  hag,  Margaretha, 

154 


Genoveva 

whom  he  takes  for  his  nurse,  comes  to  console 
him. 

She  is  in  reality  his  mother,  and  has  great 
schemes  for  her  son's  future  happiness.  She 
insinuates  to  him  that  Genoveva,  being  alone, 
needs  consolation,  and  will  easily  be  led  on  to 
accept  more  tender  attentions,  and  she  prom- 
ises him  her  assistance.  The  second  act  shows 
Genoveva's  room.  She  longs  sadly  for  her  hus- 
band, and  sees  with  pain  and  disgust  the  inso- 
lent behavior  of  the  servants,  whose  wild  song,? 
penetrate  into  her  silent  chamber. 

Golo  enters  to  bring  her  the  news  of  a  great 
victory  over  Abdurrahman,  news  which  fill  her 
heart  with  joy. 

She  bids  Golo  sing  and  sweetly  accompanies 
his  song,  which  so  fires  his  passion  that  he  falls 
upon  his  knees  and  frightens  her  by  glowing 
words.  Vainly  she  bids  him  leave  her;  he  only 
grows  more  excited,  till  she  repulses  him  with 
the  word  "bastard."  Now  his  love  turns  into 
hatred,  and  when  Drago,  the  faithful  steward, 
comes  to  announce  that  the  servants  begin  to  be 
more  and  more  insolent,  daring  even  to  insult 
the  good  name  of  the  Countess,  Golo  asserts 
that  they  speak  the  truth  about  her.  He  per- 
suades the  incredulous  Drago  to  hide  himself 
in  Genoveva's  room,  the  latter  having  retired 
for  the  night's  rest. 

Margaretha,    listening    at    the    door,    hears 

155 


The  Standard  Operaglass 

everything.  She  tells  Golo  that  Count  Sieg- 
fried lies  wounded  at  Strassbourg;  she  has  in- 
tercepted his  letter  to  the  Countess,  and  prepares 
to  leave  for  that  town,  in  order  to  nurse  the 
Count  and  kill  him  slowly  by  some  deadly 
poison.  Then  Golo  calls  quickly  for  the  ser- 
vants, who  all  assemble  to  penetrate  into  their 
mistress's  room.  She  repulses  them,  full  of 
wounded  pride,  but  at  last  she  yields,  and  her- 
self taking  the  candle  to  light  the  room,  proceeds 
to  search,  when  Drago  is  found  behind  the  cur- 
tains and  at  once  silenced  by  Golo,  who  runs  his 
dagger  through  his  heart.  Genoveva  is  led  into 
the  prison  of  the  castle. 

The  third  act  takes  place  at  Strassbourg, where 
Siegfried  is  being  nursed  by  Margaretha.  His 
streugth  defies  her  perfidy,  and  he  is  full  of  impa- 
tience to  return  to  his  loving  wife,  when  Golo  en- 
ters, bringing  him  the  news  of  her  faithlessness. 

Siegfried,  in  despair,  bids  Golo  kill  her  with 
his  own  sword.  He  decides  to  fly  into  the  wil- 
derness, but  before  fulfilling  his  design,  he  goes 
once  more  to  Margaretha,  who  has  promised  to 
show  him  all  that  passed  at  home  during  his 
absence.  He  sees  Genoveva  in  a  magic  look- 
ing-glass, exchanging  kiudly  words  with  Drago, 
but  there  is  no  appearance  of  guilt  in  their  in- 
tercourse. The  third  image  shows  Genoveva 
sleeping  on  her  couch,  and  Drago  approaching 
her.     With  an  imprecation  Siegfried  starts  up, 

156 


The  Golden  Cross 

bidding  Golo  avenge  him,  but  at  the  same  in* 
stant  the  glass  flies  in  pieces  with  a  terrible 
crash,  and  Drago's  ghost  stands  before  Margare- 
tha,  commanding  her  to  tell  Siegfried  the  truth. 
In  the  fourth  act  Genoveva  is  being  led  into 
the  wilderness  by  two  ruffians,  who  have  orders 
to  murder  her.  Before  this  is  done,  Golo  ap- 
proaches her  once  more,  showing  her  Siegfried's 
ring  and.  sword,  with  which  he  has  been  bidden 
to  kill  her.  He  tries  hard  to  win  her,  but  she 
turns  from  him  with  scorn  and  loathing,  pre- 
ferring death  to  dishonor.  At  length  relin- 
quishing his  attempts,  he  beckons  to  the  mur- 
derers to  do  their  work,  and.  hands  them  Count 
Siegfried's  weapon.  Genoveva,  in  her  extreme 
need,  seizes  the  cross  of  the  Saviour,  praying 
fervently,  and  detains  the  ruffians,  till  at  the 
last  moment  Siegfried  appears,  led  by  the  re- 
pentant Margaretha.  There  ensues  a  touching 
scene  of  forgiveness,  while  Golo  rushes  away  to 
meet  his  fate  by  falling  over  a  precipice. 


THE  GOLDEN  CROSS 

Opera  in   two  acts  by  IGNAZ  BRULL 
Text  by  MOSENTHAL 

Brull,  born  at  Prossnitz  in  Moravia,  Novem- 
ber 7,  1840,  received  his  musical  education  in 

157 


The  Standard   Operaglass 

Vienna,  and  is  well  known  as  a  good  pianist. 
He  has  composed  different  operas,  of  which, 
however,  the  above-mentioned  is  the  only  popu- 
lar one. 

This  charming  little  opera,  which  rendered 
its  composer  famous,  has  passed  beyond  the 
frontiers  of  Germany,  and  is  now  translated  into 
several  languages. 

The  text  is  skilfully  arranged,  and  so  com- 
bined as  to  awaken  our  interest. 

The  scene  is  laid  in  a  village  near  Melun  in 
the  years  between  1812  and  1815. 

Nicolas  (or  Cola)  Pariset,  an  innkeeper,  is  be- 
trothed to  his  cousin  Ther&se.  Unfortunately, 
just  on  his  wedding-day  a  sergeant,  named 
Bombardon,  levies  him  for  the  army  which  is 
to  march  against  the  Russians.  Vainly  does 
Therese  plead  for  her  betrothed,  and  equally  in 
vain  is  it  that  she  is  joined  in  her  pleading  by 
Nicolas's  sister  Christine.  The  latter  is  passion- 
ately attached  to  her  brother,  who  has  hitherto 
been  her  only  care.  Finally  Christine  promises 
to  marry  any  man  who  will  go  as  substitute  for 
her  brother.  Gontran  de  l'Ancry,  a  young 
nobleman,  whose  heart  is  touched  by  the 
maiden's  tenderness  and  beauty,  places  himself 
at  Bombardon's  disposal  and  receives  from  him 
the  golden  cross,  which  Christine  has  placed  in 
his  hands  to  be  offered  as  a  pledge  of  fidelity  to 
her  brother's  deliverer.     Christine  does  not  get 

158 


The  Golden   Cross 

to  know  him,  as  Gontran  departs  immediately. 
The  act  closes  with  Cola's  marriage. 

The  second  act  takes  place  two  years  later. 
Cola,  who  could  not  be  detained  from  marching 
against  the  enemy,  has  been  wounded,  but  saved 
from  being  killed  by  an  officer,  who  received 
the  bullet  instead.  Both  return  to  Cola's  house 
as  invalids  aud  are  tended  by  the  two  women. 
The  strange  officer,  who  is  no  other  than  Gon- 
tran, loves  Christine,  and  she  returns  his  pas- 
sion; but  deeming  herself  bound  to  another,  she 
does  not  betray  her  feeling.  Gontran  is  about 
to  bid  her  farewell,  but  when  in  the  act  of  tak- 
ing leave  he  perceives  her  love  and  tells  her 
that  he  is  the  officer  who  was  once  substitute 
for  her  brother  in  the  war. 

Christine  is  full  of  happiness;  Gontran,  when 
asked  for  the  token  of  her  promise,  tells  her 
that  the  cross  was  taken  from  him  as  he  lay 
senseless  on  the  field  of  battle.  At  this  mo- 
ment Bombardon,  returning  also  as  an  invalid, 
presents  the  cross  to  Christine,  and  she,  believ- 
ing that  Gontran  has  lied  to  her  and  that  Bom- 
bardon is  her  brother's  substitute,  promises  her 
hand  to  him,  with  a  bleeding  heart;  but  Bom- 
bardon relates  that  the  true  owner  of  the  cross 
has  fallen  on  the  battle-field  and  that  he  took 
it  from  the  dead  body.  Christine  now  resolves 
to  enter  a  convent,  when  suddenly  Gontran's 
voice    is    heard.       Bombardon    recognizes    his 

i59 


The   Standard   Operaglass 

friend,  whom  he  believed  to  be  dead,  every- 
thing is  explained,  and  the  scene  ends  with  the 
marriage  of  the  good  and  true  lovers. 


THE  TWO   GEENADIEES 

Comic  Opera  in  three  acts  by  ALBERT  LORTZING 
Text  adapted  from  the  French 

After  a  long  interval  of  quiet,  Lortzing's 
charming'  music  seems  to  be  brought  to  honor 
again,  and  no  wonder.  The  ears  of  the  public 
grow  over- tired,  or  may  we  say  over-taxed  by 
Wagner's  grand  music,  which  his  followers  still 
surpass,  though  only  in  noise  and  external 
effects:  they  long  for  simplicity,  for  melody. 
Well,  Lortzing's  operas  overflow  with  real,  true, 
simple  melody,  and  generally  in  genuine  good 
humor.  For  many  years  only  two  of  his  operas 
have  been  performed,  viz.,  "Undine"  and 
"Czar  and  Zimmermann. "  Now  Hamburg 
has  set  the  good  example  by  representing  a 
whole  cyclus  (seven  operas  of  Lortzing's),  and 
Dresden  has  followed  with  "The  Two  Grena- 
diers." 

The  opera  was  composed  in  the  year  1837,  and 
is  of  French  origin,  and  though  its  music  breathes 
German  humor  and  naivete,  the  French  influ- 
ence may  be  felt  clearly.     The  persons  show  life 

1 60 


The  Two  Grenadiers 

and  movement,  the  music  is  light-hearted,  grace- 
ful, and  truly  comic. 

The  scene  takes  place  in  a  little  country  town, 
where  we  find  Busch,  a  wealthy  innkeeper, 
making  preparations  for  the  arrival  of  his  ouly 
son.  The  young  man  had  entered  a  Grenadier 
regiment  at  the  age  of  sixteen,  ten  years  before, 
so  the  joyful  event  of  his  home-coming  is  looked 
forward  to  with  pleasure  by  his  father  and  sister 
Suschen,  but  with  anxiety  by  a  friend  of  hers, 
Caroline,  to  whom  young  Busch  had  been 
affianced  before  joining  his  regiment, 

Enter  two  young  Grenadiers  from  the  regi- 
ment on  leave,  the  younger  of  whom  falls  in 
love  with  Suschen  at  first  sight.  However,  as 
the  elder  Grenadier,  Schwarzbart,  dolefully  re- 
marks, they  are  both  almost  penniless,  and  he 
reflects  how  he  can  possibly  help  them  in  their 
need.  His  meditations  are  interrupted  by  the 
arrival  of  the  landlord,  who,  seeing  the  two 
knapsacks,  and  recognizing  one  of  them  as  that 
of  his  son,  naturally  supposes  the  owner  to  be 
his  offspring,  in  which  belief  he  is  confirmed  by 
Schwarzbart,  who  is  induced  to  practise  this  de- 
ceit, partly  by  the  desire  of  getting  a  good  din- 
ner and  the  means  of  quenching  his  insatiable 
thirst,  partly  by  the  hope  of  something  turning 
tip  in  favor  of  his  companion  in  arms,  Wil- 
helm.  As  a  matter  of  fact,  the  knapsack  does 
not  belong  to  Wilhelm  at  all.  On  leaving  the 
:i  161 


The  Standard   Operaglass 

inn  at  which  the  banquet  following  the  wed- 
ding of  one  of  their  comrades  had  been  held, 
the  knapsacks  had  inadvertently  been  exchanged, 
much  to  Wilhelm's  dismay,  his  own  containing 
a  lottery  ticket  which,  as  he  has  just  learnt,  had 
won  a  great  prize.  The  supposed  son  is,  of 
course,  received  with  every  demonstration  of 
affection  by  his  fond  parent;  but,  though  submit- 
ting with  a  very  good  grace  to  the  endearments 
of  his  supposed  sister — the  maiden  with  whom 
he  had  fallen  in  love  so  suddenly — he  resolutely 
declines  being  hugged  and  made  much  of  by 
the  old  landlord,  this  double  part  being  entirely 
distasteful  to  his  straightforward  nature.  Nor 
does  his  affianced  bride,  the  daughter  of  the 
bailiff,  fare  any  better,  his  affections  being 
placed  elsewhere,  and  their  bewilderment  is  only 
somewhat  appeased  by  Schwarzbart's  explana- 
tion that  his  comrade  suffers  occasionally  from 
weakness  of  the  brain. 

In  the  next  act  Peter,  a  youth  of  marvellous 
stupidity,  and  cousin  of  the  bailiff,  presents 
himself  in  a  woful  plight,  to  which  he  has  been 
reduced  by  some  soldiers  at  the  same  wedding 
festivities,  and  shortly  after,  Gustav,  the  real  son, 
appears  on  the  scene.  He  is  a  manly  fellow, 
full  of  tender  thoughts  for  his  home.  Great  is, 
therefore,  his  surprise  at  finding  himself  repulsed 
by  his  own  father,  who,  not  recognizing  him, 
believes  him  to  be  an  impostor.     All  the  young 

162 


The  Two  Grenadiers 

man's  protestations  are  of  no  avail,  for  in  his 
knapsack  are  found  the  papers  of  a  certain  Wil- 
helm  Stark,  for  whom  he  is  now  mistaken. 
When  silly  Peter  perceives  him,  he  believes  him 
to  be  the  Grenadier  who  had  so  ill-treated  him 
at  the  wedding,  though  in  reality  it  was 
Schwarzbart.  Gustav  is  shut  up  in  a  large 
garden-house  of  his  father's,  the  small  town 
lacking  a  prison. 

In  the  third  act  the  Magistrate  has  found  out 
that  AVilhelm's  papers  prove  him  to  be  the 
bailiff's  son,  being  the  offspring  of  his  first 
love,  who  had  been  with  a  clergyman,  and 
who,  after  the  death  of  the  bailiff's  wife,  is 
vainly  sought  for  by  his  father.  Of  course,  this 
changes  everything  for  the  prisoner,  who  is 
suddenly  accosted  graciously  by  his  gruff  guard- 
ian Barsch,  and  does  not  know  what  to  make  of 
his  mysterious  hints. 

Meanwhile  Caroline's  heart  has  spoken  for 
the  stranger,  who  had  addressed  her  so  courte- 
ously and  chivalrously;  she  feels  that,  far  from 
being  an  impostor,  he  is  a  loyal  and  true- 
hearted  young  fellow,  and  therefore  decides  to 
liberate  him.  At  the  same  time  enter  Wilhelm 
with  Schwarzbart,  seeking  Suschen;  Peter  slips 
in  for  the  same  reason,  seeking  her,  for  Suschen 
is  to  be  his  bride.  Gustav  (the  prisoner),  hear- 
ing footsteps,  blows  out  the  candle,  in  order  to 
save  Caroline  from  being  recognized,  and  so  they 

163 


The  Standard   Operaglass 

all  ran  about  in  the  dark,  playing  hide  and.  seek 
in  an  infinitely  droll  manner.  At  last  the 
bailiff,  having  heard  that  his  son  has  been 
found,  comes  up  with  the  innkeeper.  The 
whole  mystery  is  cleared  up,  and  both  sons  em- 
brace their  respective  fathers  and  their  brides. 


HAMLET 

Grand  Opera  in  five  acts  by  AMBROISE  THOMAS 

Text  taken  from  SHAKESPEARE 

by  MICHEL  CARRE  and  JULES  BARBIER 

Hamlet  was  first  reproduced  in  Paris  in  1868, 
a  year  after  the  representation  of  Mignon,  but 
it  never  reached  the  hitter's  popularity.  jThis 
is  not  due  to  the  music,  which  is  very  fine,  and 
even  nobler  than  in  Mignon,  but  to  the  horrid 
mutilation  of  Shakespeare's  glorious  tragedy, 
which  almost  turns  into  ridicule  the  most  sub- 
lime thoughts. 

The  text  is  soon  explained.  We  find  the 
Shakespearian  names  with  their  thoughts  and 
deeds  turned  into  operatic  jargon. 

The  first  act  shows  Hamlet's  disgust  and  pain 
at  his.  mother's  early  wedding  with  Claudius, 
King  of  Denmark,  only  two  months  after  her 
first  husband's  death.     Ophelia  vainly  tries  to 

164 


Hamlet 

divert  his  sombre  thoughts;  he  finds  her  love 
very  sweet,  however,  and  when  her  brother 
Laertes,  before  starting  on  a  long  journey,  com- 
mends her  to  his  friend's  protection,  Hamlet 
swears  to  be  true  to  her  unto  death. 

In  the  interview  at  midnight  with  his  father's 
ghost,  Hamlet  experiences  great  revulsion  of 
feeling  when  he  discovers  that  his  mother's 
second  husband  is  his  father's  murderer.  The 
ghost  urges  Hamlet  to  avenge  his  parent,  which 
he  swears  to  do. 

In  the  second  act  we  find  Hamlet  quite 
changed.  He  not  only  avoids  his  father  and 
mother,  but  also  shuns  Ophelia,  who  vainly  tries 
to  understand  his  strange  behavior.  Deter- 
mined to  find  out  the  truth  about  Claudius's 
guilt,  Hamlet  has  paid  some  actor  to  play  the 
old  tragedy  of  Gonzaga's  murder.  When  the 
actor  pours  the  poison  into  the  sleeping  King's 
ear,  Claudius  sinks  back  half  fainting,  and 
Hamlet,  keenly  observant,  loudly  accuses  him 
of  his  father's  death.  But  he  is  unable  to  act, 
ami  after  the  King's  escape  he  seeks  his  moth- 
er's room  to  ponder  on  his  wrongs.  Hidden  be- 
hind a  pillar,  he  overhears  from  Claudius's  own 
lips  that  Ophelia's  father,  old  Polonius,  is  the 
King's  accomplice.  This  destroys  the  last  spark 
of  his  belief  in  humanity.  Thrusting  the  weep- 
ing Ophelia  from  him,  he  advises  her  to  shut 
herself   in  a  convent  and  to  bid  farewell  to  all 

165 


The  Standard  Operaglass 

earthly  joys.  Left  alone  with  his  mother,  he 
wildly  reproaches  her,  and  at  last  so  far  forgets 
himself  that  he  is  about  to  kill  her,  had  not  his 
father's  ghost  appeared  once  more,  exhorting 
him  to  take  vengeance,  but  to  spare  his  mother. 

This  scene  is  very  powerful,  the  music  of 
strange  and  weird  beauty. 

In  the  fourth  act  poor  demented  Ophelia 
takes  part  in  the  plays  of  the  village  maidens. 
The  Swedish  song  she  sings  to  them  is  full  of 
sweet  pathos.  When  her  playmates  leave  her, 
she  hides  among  the  willows,  enticed  into  the 
water  by  the  "  Neck  "  (Swedish  for  Sirens), 
whose  own  song  she  has  sung.  Slowly  floating 
out  on  the  waves,  her  voice  dies  away  softly. 
With  her  death  the  interest  in  the  opera  ends; 
however,  a  fifth  act  takes  us  to  her  grave,  where 
the  whole  funeral  procession  arrives.  The  ghost 
once  more  appeals  to  Hamlet  for  vengeance,  un- 
til he  rouses  himself  and  runs  his  sword  through 
Claudius,  after  which  the  ghost  disappears, 
while  Hamlet  is  elected  King  of  Denmark  on 
the  spot. 

[The  audience  in  German  theatres  is  spared 
this  last  piece  of  absurdity,  and  the  play  is 
brought  to  a  more  appropriate  close  by  Hamlet's 
stabbing  himself  on  his  bride's  bier. 


166 


Hansel  and   Gretel 
HANSEL  AND  GRETEL 

A  Fairy  tale  in  three  pictures  by  ADELHEID  WETTE 
Music  by  ENGELBERT  HUMPEKDINCK 

After  a  long  period  of  "  Sturm  und  Drang," 
we  have  an  opera  so  fresh  and  simple  that  any 
child  will  delight  in  it.  It  not  only  captivates 
children  and  people  of  simple  tastes,  but  the 
most  bluve  must  acknowledge  its  charms.  No 
thrilling  drama,  but  a  simple  fairy  tale,  known 
in  every  nursery,  has  achieved  this  wonder.  It 
is  a  revelation.  True  music  finds  its  way  to  the 
heart,  and  how  wonderfully  refreshing  are  these 
simple  nursery  songs,  recalling  days  of  sweet 
childhood,  how  droll  and  truly  realistic  are 
these  children  in  their  natural  and  naive  sauci- 
ness!  Here  is  no  display  of  human  passions; 
simply  and  clearly  the  old  fairy  tale  goes  on, 
embellished  by  the  masterly  way  in  which  the 
musician  handles  the  modern  orchestra. 

The  first  act  represents  the  miserable  little  hut 
of  a  broom-maker.  Hansel  is  occupied  in  bind- 
ing brooms,  Gretel  is  knitting  and  singing  old 
nursery  songs,  such  as  "  Susy,  dear  Susy,  what 
rattles  in  the  straw?"  Both  children  are  very 
hungry,  and  wait  impatiently  for  the  arrival  of 
their  parents.  Hansel  is  particularly  bad-tem- 
pered, but  the  merry  and  practical  Gretel,  find- 
ing some  milk  in  a  pot,  soon  soothes  his  ruffled 

167 


The  Standard  Operaglass 

feelings  by  the  promise  of  a  nice  rice-pap  in  the 
evening.  Forgetting  work  and  hunger,  they 
begin  to  dance  and  frolic,  until  they  roll  on  the 
ground  together.  At  this  moment  their  moth- 
er enters,  and  seeing  the  children  idle,  her 
wrath  is  kindled,  and  she  rushes  at  them  with 
the  intention  of  giving  them  a  sound  whipping. 
Alas,  instead  of  Hansel,  she  strikes  the  pot  and 
upsets  the  milk.  The  mother's  vexation  cools, 
and  only  sorrow  remains,  but  she  quickly  puts  a 
little  basket  into  Gretel's  hands,  and  drives  the 
children  away,  bidding  them  look  for  straw- 
berries in  the  woods.  Then  sinking  on  a  chair, 
utterly  exhausted,  she  falls  asleep.  She  is 
awakened  by  her  husband,  who  comes  in  sing- 
ing and  very  gay.  She  sees  that  he  has  had  a 
drop  too  much,  and  is  about  to  reproach  him; 
but  the  words  die  on  her  lips  when  she  sees  him 
unfold  his  treasures,  consisting  of  eggs,  bread, 
butter,  and  coffee.  He  tells  her  that  he  has  been 
very  fortunate  at  the  church  ale  (Kirmes),  and 
bids  her  prepare  supper  at  once.  Alas,  the  pot 
is  broken,  and  the  mother  relates  that,  finding 
the  children  idle,  anger  got  the  better  of  her, 
and  the  pot  was  smashed  to  pieces.  He  good- 
naturedly  laughs  at  her  discomfiture,  but  his 
merriment  is  changed  to  grief  when  he  hears 
that  their  children  are  still  in  the  forest,  per- 
haps even  near  the  Ilsenstein,  where  the  wicked 
fairy  lives  who  entices  children  in  order  to  bake 

168 


Hansel  and  Gretel 

and  devour  them.  This  thought  so  alarms  the 
parents  that  they  rush  off  to  seek  the  children 
in  the  forest. 

The  second  act  is  laid  near  the  ill-famed 
Ilsenstein.  Hansel  has  filled  his  basket  with 
strawberries,  and  Gretel  is  winding  a  garland 
of  red  hips,  with  which  Hansel  crowns  her. 
He  presents  her  also  with  a  bunch  of  wild- 
flowers  and  playfully  does  homage  to  this  queen 
of  the  woods.  Gretel,  enjoying  the  play,  pops 
one  berry  after  another  into  her  brother's 
mouth;  then  they  both  eat,  while  listening  to 
the  cuckoo.  Before  they  are  aware  of  tit,  they 
have  eaten  the  whole  contents  of  the  basket  and 
observe  with  terror  that  it  has  grown  too  dark 
either  to  look  for  a  fresh  supply  or  to  find  their 
way  home.  Gretel  begins  to  weep  and  to  call 
for  her  parents;  but  Hansel,  rallying  his  cour- 
age, takes  her  in  his  arms  and  soothes  her,  until 
they  both  grow  sleepy.  The  dustman  comes, 
throwing  his  dust  into  their  eyes,  but  before 
their  lids  close  they  say  their  evening  prayer; 
then  they  fall  asleep  and  the  fourteen  guardian 
angels,  whose  protection  they  invoked,  are  seen 
stepping  down  the  heavenly  ladder  to  guard 
their  sleep. 

In  the  third  act  the  morning  dawns.  Crystal 
drops  are  showered  on  the  children  by  the  angel 
of  the  dew :  Gretel  opens  her  eyeB  first  and  wakes 
her  brother  with  a  song.     They  are  still  en- 

l6q 


The  Standard  Operaglass 

tranced  by  the  beautiful  angel  dream  they  have 
had,  when  suddenly  their  attention  is  aroused 
by  the  sight  of  a  little  house,  made  entirely  of 
cake  and  sugar.    Approaching  it  on  tiptoe,  they 
begin  to  break  off  little  bits,  but  a  voice  within 
calls  out  "  Tip  tap,  tip  tap,  who  raps  at  my 
house  ?  "     "  The  wind,  the  wind,  the  heavenly 
child,"  they  answer,  continuing  to  eat  and  to 
laugh,  nothing  daunted.     But  the  door  opens 
softly,  and  out  glides  the  witch,  who  quickly 
throws  a  rope  around  Hansel's  throat.     Urging 
the  children  to  enter  her  house,  she  tells  her 
name,  Kosina  Sweet-tooth.    The  frightened  chil- 
dren try  to  escape,  but  the  fairy  raises  her  staff, 
and  by  a  magic  charm  keeps  them  spellbound. 
She  imprisons  Hansel  in  a  small  stable  with  a 
lattice  door,  and  gives  him  almonds  and  cur- 
rants to  eat;  then  turning  to  Gretel,  who  has 
stood  rooted  to  the  spot,  she  breaks  the  charm 
with  a  juniper  bough,  and  compels  her  to  enter 
the  house  and  make  herself  useful. 

Believing  Hansel  to  be  asleep,  she  turns  to 
the  oven  and  kindles  the  fire;  then,  breaking 
into  wild  glee,  she  seizes  a  broom  and  rides  on  it 
round  the  house  singing,  Gretel  all  the  while 
observing  her  keenly.  Tired  with  her  exertions, 
the  witch  awakes  Hansel  and  bids  him  show 
his  finger,  at  which  command  Hansel  stretches 
out  a  small  piece  of  wood.  Seeing  him  so  thin, 
the  witch  calls  for  more  food,  and  while  she 

170 


Hansel  and   Gretel 

turns  her  back,  Gretel  quickly  takes  up  the 
juniper  bough,  and  speaking  the  formula,  dis- 
enchants her  brother.  Meanwhile  the  witch, 
turning  to  the  oven,  tells  Gretel  to  creep  into 
it,  in  order  to  see  if  the  honey-cakes  are  ready, 
but  the  little  girl,  affecting  stupidity,  begs  her 
to  show  how  she  is  to  get  in.  The  witch  im- 
patiently bends  forward,  and  at  the  same  mo- 
ment Gretel,  assisted  by  Hansel,  who  has  escaped 
from  his  prison,  pushes  her  into  the  hot  oven 
and  slams  the  iron  door.  The  wicked  witch 
burns  to  ashes,  while  the  oven  cracks  and  roars 
and  finally  falls  to  pieces.  With  astonishment 
the  brother  and  sister  see  a  long  row  of  chil- 
dren, from  whom  the  honey-crust  has  fallen  off, 
standing  stiff  and  stark.  Gretel  tenderly  ca- 
resses one  of  them,  who  opens  his  eyes  and  smiles. 
She  now  touches  them  all,  and  Hansel,  seizing 
the  juniper  bough,  works  the  charm  and  recalls 
them  to  new  life.  The  cake  children  thank 
them  warmly,  and  they  all  proceed  to  inspect  the 
treasures  of  the  house,  when  Hansel  hears  their 
parents  calling  them.  Great  is  the  joy  of  father 
and  mother  at  finding  their  beloved  ones  safe 
and  in  the  possession  of  a  sweet  little  house, 
The  old  sorceress  is  drawn  out  of  the  ruins  ol 
the  oven  in  the  form  of  an  immense  honey-cake, 
whereupon  they  all  thank  Heaven  for  having  so 
visibly  helped  and  protected  them. 


171 


The  Standard  Operaglass 
HANS  HEILING 

Romantic  Opera  in  three  acts  with  a  prelude 
by  HEINRICH  MARSCHNER 

Text  by  EDUARD  DEVRIENT 

The  text  to  this  opera,  which  was  written  by 
the  celebrated  actor  and  sent  to  Marschner 
anonymously,  so  struck  the  composer  by  its 
beauty  that  he  adapted  music  to  it,  music  which 
ought  to  be  heard  much  oftener  on  our  stages 
on  account  of  its  freshness,  and  its  healthy 
dramatic  action,  which  never  flags,  but  contin- 
ues to  interest  and  move  the  hearer  with  ever- 
increasing  effect  till  the  end  is  reached. 

The  contents  are  as  follows: 

Hans  Heiling,  King  of  the  gnomes,  has  fallen 
in  love  with  a  daughter  of  the  earth,  the  charm- 
ing Anna.  This  maiden,  a  poor  country  girl  in 
the  first  freshness  of  youth,  has  been  induced 
by  her  mother  to  consent  to  a  betrothal  with  the 
rich  stranger,  whom  she  esteems,  but  nothing 
more,  her  heart  not  yet  having  been  touched  by 
love. 

In  the  prelude  we  are  introduced  into  the 
depths  of  earth,  where  the  gnomes  work  and 
toil  incessantly,  carrying  glittering  stones,  gold 
and  silver,  and  accumulating  all  the  treasures 
on  which  men's  hearts  are  set. 

172 


Hans   Heilin 


g 


Their  King  announces  to  them  that  he  will 
no  longer  be  one  of  theirs;  he  loves,  and  there- 
fore he  resigns  his  crown.  All  the  passionate 
entreatings  of  his  mother  and  of  the  gnomes  are 
of  no  avail.  At  the  Qneen's  bidding  he  takes 
with  him  a  magic  book,  without  which  he  should 
lose  his  power  over  the  gnomes;  and  after  giving 
to  her  beloved  son  a  set  of  luminous  diamonds, 
mother  and  son  part,  Heiling  with  joy  in  his 
heart,  the  mother  in  tears  and  sorrow. 

In  the  first  act  Heiling  arises  from  the  earth, 
forever  closing  the  entrance  to  the  gnomes. 

Anna  greets  him  joyously,  and  Gertrud,  her 
mother,  heartily  seconds  the  welcome.  Heiling 
gives  to  his  bride  a  golden  chain,  and  Anna, 
adorning  herself,  thinks,  with  pleasure,  how 
much  she  will  be  looked  at  and  envied  by  her 
companions.  She  fain  would  show  herself  at 
once,  and  begs  Heiling  to  visit  a  public  festival 
with  her.  But  Heiling,  by  nature  serious  and 
almost  taciturn,  refuses  her  request.  Anna 
pouts,  but  she  soon  forgets  her  grief  when  she 
sees  the  curious  signs  of  erudition  in  her  lover's 
room.  Looking  over  the  magic  book,  the 
leaves  begin  to  turn  by  themselves,  quicker  and 
quicker,  the  strange  signs  seem  to  grow,  to 
threaten  her,  until,  stricken  with  horrible  fear, 
Anna  cries  out,  and  Heiling,  turning  to  her, 
sees  too  late  what  she  has  done.  Angry  at  her 
curiosity,  he  pushes  her  away,  but  she  clings  to 

i73 


The  Standard   Operaglass 

him  with  fervent  entreaties  to  destroy  the  dread- 
ful book.  His  love  conquers  his  reason;  and 
he  throws  the  last  link  which  connects  him  with 
his  past  into  the  fire.  A  deep  thunder-peal  is 
heard.  Anna  thanks  him  heartily,  but  from 
this  hour  the  seed  of  fear  and  distrust  grows  in 
her  heart. 

Heiling,  seeing  her  still  uneasy,  agrees  to  visit 
the  festival  with  her  upon  condition  that  she 
refrains  from  dancing.  She  gladly  promises, 
but  as  soon  as  they  come  to  the  festival,  Anna  is 
surrounded  by  the  village  lads,  who  entreat  her 
to  dance.  They  dislike  the  stranger,  who  has 
won  the  fairest  maiden  of  the  village,  and  Con- 
rad the  hunter,  who  has  long  loved  Anna,  is 
particularly  hard  on  his  rival.  He  mocks  him, 
feeling  that  Heiling  is  not  what  he  seems,  and 
tries  to  lure  Anna  away  from  his  side.  At  last 
Heiling  grows  angry,  forbidding  Anna  once  more 
to  dance.  She  is  wounded  by  his  words,  and 
telling  him  abruptly  that  she  is  not  married 
yet,  and  that  she  never  will  be  his  slave,  she 
leaves  him. 

In  despair,  Heiling  sees  her  go  away  with  Con- 
rad, dancing  and  frolicking. 

In  the  second  act  we  find  Anna  in  the  forest. 
She  is  in  a  deep  reverie;  her  heart  has  spoken, 
but,  alas,  not  for  her  bridegroom,  whom  she 
now  fears:  it  only  beats  for  Conrad,  who  has 
owned  his  love  to  her.     Darkness  comes  on,  and 

i74 


Hans   Heiling 

the  gnomes  appear  with  their  Queen,  who  re- 
veals to  the  frightened  girl  the  origin  of  her 
bridegroom,  and  entreats  her  to  give  back  the 
son  to  his  poor  bereft  mother.  When  the 
gnomes  have  disappeared,  Conrad  overtakes 
Anna,  and  she  tells  him  all,  asking  his  help 
against  her  mysterious  bridegroom.  Conrad, 
seeing  that  she  returns  his  love,  is  happy.  He 
has  just  obtained  a  good  situation,  and  will  now 
be  able  to  wed  her. 

He  accompanies  her  home,  where  Gertrud 
welcomes  them  joyously,  having  feared  that 
Anna  had  met  with  an  accident  in  the  forest. 

While  the  lovers  are  together,  Heiling  enters, 
bringing  the  bridal  jewels.  Mother  Gertrud  is 
dazzled,  but  Anna  shrinks  from  her  bridegroom. 
When  he  asks  for  an  explanation,  she  tells  him 
that  she  knows  of  his  origin.  Then  all  his 
hopes  die  within  him;  but  determined  that  his 
rival  shall  not  be  happy  at  his. cost,  he  hurls  his 
dagger  at  Conrad  and  takes  flight. 

In  the  last  act  Heiling  is  alone  in  a  ravine 
in  the  mountains.  He  has  sacrificed  everything 
and  gained  nothing.  Sadly  he  decides  to  re- 
turn to  the  gnomes.  They  appear  at  his  bid- 
ding, but  they  make  him  feel  that  he  no  longer 
has  any  power  over  them,  and  by  way  of  adding 
still  further  to  his  sorrows  they  tell  him  that  his 
rival  lives  and  is  about  to  wed  Anna.  Then  in- 
deed all  seems  lost  to  the  poor  dethroned  King. 

17* 


The  Standard  Operaglass 

In  despair  and  repentance  lie  casts  himself  to 
the  earth.  But  the  gnomes,  seeing  that  he 
really  has  abandoned  all  earthly  hopes,  swear 
fealtv  to  him  once  more  and  return  with  him  to 
their  Queen,  by  whom  he  is  received  with  open 
arms. 

Meanwhile  Conrad,  who  only  received  a 
slight  wound  from  Heiling's  dagger  and  has 
speedily  recovered,  has  fixed  his  wedding  day, 
and  we  see  Anna,  the  happy  bride,  in  the  midst 
of  her  companions,  prepared  to  go  to  church 
with  her  lover.  But  when  she  looks  about  her, 
Heiling  is  at  her  side,  come  to  take  revenge. 
Conrad  would  fain  aid  her,  but  his  sword  breaks 
before  it  touches  Heiling,  who  invokes  the  help 
of  his  gnomes.  They  appear,  but  at  the  same 
moment  the  Queen  is  seen,  exhorting  her  son  to 
pardon  and  to  forget.  He  willingly  follows  her 
away  into  his  kingdom  of  night  and  darkness, 
never  to  see  earth-'s  surface  again.  The  anxious 
peasants  once  more  breathe  freely  and  join  in 
common  thanks  to  God. 


HEKRY  THE  LION 

Opera  in  four  acts  by  EDMUND  KRETSCHMER 

This  opera  has  not  had  the  same  success  as 
"The  Folkungs,"  which  maybe  attributed  in 
part  to  the  subject,  which   is  less  attractive. 

176 


Henry  the  Lion 

Nevertheless  it  has  great  merit,  and  has  found 
its  way  to  the  larger  stages  of  Germany.  The 
libretto  is  written  by  Kretschmer  himself.  The 
background  is  in  this  instance  also  historical. 

The  scene,  which  takes  us  back  to  the  middle 
of  the  12th  century,  is  laid,  in  the  first  act,  in 
Home;  in  the  second  and  fourth  in  Henry  the 
Lion's  castle,  and  in  the  third  act  on  the  coast  of 
Ancona. 

In  the  first  act  Henry's  praise  is  sung;  he  has 
gained  the  victory  for  his  Emperor,  Frederick 
Barbarossa,  over  the  Italians.  Frederick  enters, 
thanking  the  Duke  heartily  for  his  fidelity  and 
fortitude.  A  stranger,  named  Astoc,  comes, 
prophesying  an  unhappy  end  to  the  Emperor 
if  he  continues  to  seek  his  laurels  in  strange 
lands.  To  the  anger  of  everybody,  Henry  sec- 
onds him,  entreating  his  master  to  return  into 
his  own  country,  where  his  presence  is  neces- 
sary. The  Emperor  rebukes  him  sternly, 
Henry  grows  hot,  and  is  finally,  by  order  of 
Frederick,  fettered  and  led  away. 

The  second  act  shows  the  park  in  Henry's 
castle.  His  lovely  wife  Clementina,  whose  veil 
he  wears  on  his  helmet  as  a  talisman,  receives 
the  country  people,  who  come  to  congratulate 
ner  on  the  first  anniversary  of  her  wedding  day. 
Irrngard,  sister-in-law  of  Duke  Henry,  sees  with 
envy  how  much  Clementina  is  loved  by  every- 
one; she  had  herself  hoped  to  become  Duchess 
12  177 


The  Standard  Operaglass 

of  Saxony,  and  from  the  time  when  Henry 
brought  home  his  lovely  bride,  Irmgard  has 
hated  her.  Conrad  von  Wettin,  Henry's 
friend,  appears  in  pilgrim's  garb,  to  announce 
to  the  lonely  wife  the  sad  news  of  her  husband's 
captivity,  and  she  at  once  resolves  to  travel  to 
Ancona  in  order  to  entreat  the  Emperor's  par- 
don. 

Irmgard,  thinking  she  sees  in  the  disguised 
pilgrim,  whose  gait  she  recognizes  to  be  that  of 
a  knight,  a  lover  of  Clementina's,  believes  that 
already  the  day  of  revenge  is  dawning. 

In  the  third  act  the  Emperor  mourns  the  loss 
of  his  bravest  hero,  who  firmly  refuses  to  retract 
his  rash  words.  A  German  song  is  heard,  and 
Conrad  von  Wettin  presents  a  young  minstrel 
to  the  homesick  Prince.  The  former  begs  for 
the  favor  of  celebrating  the  coming  festival  in  a 
German  song.  This  is  permitted,  and  the  festi- 
val begins.  The  Anconites,  whom  Frederick 
delivered  from  their  captivity,  appear  to  thank 
him;  then  Henry  the  Lion  is  conducted  to  his 
presence  and  ordered  to  ask  his  foi'giveness. 
But  Henry  repeats  that  he  did  nothing  wrong 
in  telling  the  truth.  The  Emperor  decides  to 
give  him  an  hour  for  reflection,  after  which,  if 
Henry  does  not  bend  his  will,  he  shall  be 
banished. 

When  this  hard  sentence  is  heard,  Clementina, 
in  minstrel's  guise,  sings  her  song  of  the  Ger- 

178 


Henry  the  Lion 

man's  fidelity  to  his  Prince  and  his  country,  and 
of  his  wife's  faithfulness  and  her  highest  glory. 

The  song  so  touches  the  Emperor  that  he 
bids  her  ask  a  favor.  She  takes  Henry  the 
Liou's  sword  and  buckler,  which  are  lying  near, 
and  handing  them  to  the  captive,  entreats  the 
Emperor  to  give  him  his  liberty  and  to  pardon 
him.  Her  request  is  granted  by  Frederick;  and 
Henry,  shamed  by  his  Prince's  magnanimity, 
bends  his  knee,  swearing  eternal  fidelity  to  him. 
From  Henry  the  young  minstrel  only  asks  a 
piece  of  the  veil  fastened  round  his  helmet,  in 
memory  of  his  deliverance. 

The  last  act  carries  us  back  to  Henry's  castle, 
where  the  wife  receives  her  husband  full  of  joy. 
Clementina  asks  for  the  missing  piece  of  veil, 
and  Henry  tells  her  how  he  gave  it  away.  In 
the  midst  of  this  intercourse  horns  sound,  and 
the  Emperor  appears  with  his  whole  suite.  He 
comes  to  recompense  his  hero,  who  has  again 
won  for  him  honor  and  glory,  with  the  duchy 
of  Bavaria.  Henry  presents  his  consort  as  the 
best  and  most  faithful  of  wives,  when  Irmgard 
steps  forth,  accusing  her  sister-in-law  of  faith- 
lessness, and  relating  that  she  left  the  castle 
with  a  young  knight  in  pilgrim's  attire,  aud 
only  returned  when  the  news  spread  that  the 
Duke  would  come  home  victorious.  Clementina 
is  too  proud  to  defend  herself,  and  forbids  even 
Conrad  von  Wettin  to  speak. 

179 


The  Standard  Operaglass 

Everybody  is  convinced  of  her  innocence,  but 
her  husband,  always  rash  and  violent,  turns 
from  her  when  she  refuses  to  say  nay,  and 
banishing  her  from  his  castle,  casts  his  glove 
before  Conrad  von  Wettin. 

Clementina  silently  goes  away,  but  soon  re- 
appears in  her  minstrel's  garb;  with  the  piece 
of  veil  in  her  hand  she  sings  the  song  which 
they  heard  in  Ancona.  Now  she  is  at  once  rec- 
ognized; and.  the  opera  ends  with  a  paean  of 
praise  to  the  faithfulness  of  German  wives. 


HEEEAT 

Grand  Opera  in  three  acts  by  FELIX  DRAESEKE 

The  first  representation  of  Herrat  took  place 
in  Dresden  on  the  10th  of  March,  1892.  Its 
author  is  long  known  as  one  of  the  first  living 
composers,  but  his  music  is  so  serious,  so  ex- 
tremely difficult  in  its  execution,  that  this  is 
probably  the  cause  why  his  operas  have  been 
almost  unknown  hitherto.  Like  Wagner,  he 
did  the  libretto  himself  ;  like  him,  he  chose  his 
subject  from  the  old.  "  Heldensaga,"  but  here 
all  likeness  ends.  There  is  no  relation  between 
Draeseke  and  Wagner;  each  goes  his  own  way, 
each  is  an  original  genius. 

1 80 


Herrat 

The  Amelungenlied,  a  translation  of  which 
has  appeared  from  Simrock,  bears  great  likeness 
to  the  Nibelungen;  we  even  find  in  part  the 
same  persons.  The  subject  is  a  bloody  one; 
love  and  heroism  are  the  poles  which  move  it. 
The  music  is  grand,  stern,  sometimes  sublime, 
but  we  look  vainly  for  grace  and  sweetness. 
The  libretto  is  rather  poor,  the  rhymes  un- 
melodiousand  uneven;  nevertheless  the  musical 
effect  is  deep  and  lasting;  the  breath  of  a  mas- 
ter genius  has  brought  it  to  life. 

The  first  scene  is  laid  in  Etzel's  (Attila's)  Cas- 
tle Gran.  The  King  of  the  Hun's  best  vassal, 
Dietrich  von  Bern,  has  been  severely  wounded, 
and  sent  by  his  Sire  to  Gran,  that  he  might  be 
tended  by  Queen  Helke,  Etzel's  wife.  Instead 
of  taking  care  of  the  hero,  she  leaves  him  to  her 
maid  Herlinde,  who  has  naught  but  water  at 
her  disposition,  while  the  Queen  nurses  her 
kinsman  Dietrich  der  Reusse,  a  prisoner  of  war. 
The  consequence  of  this  is  that  Etzel,  coming 
home,  finds  his  friend  sicker  than  before,  while 
his  enemy  is  well  and  strong.  Full  of  wrath, 
he  orders  the  Queen  to  keep  Dietrich  der  Reus- 
se prisoner,  without  leaving  her  any  guards; 
should  he  escape,  she  is  to  be  beheaded. 

After  Etzel's  departure  to  the  army  Dietrich 
der  Reusse  escapes,  notwithstanding  the  Queen's 
entreaties.  In  her  distress  Helke  turns  to  the 
sore  wounded  Dietrich  von  Bern,  who,  though 

181 


The  Standard  Operaglass 

bitterly  cursing  her  ingratitude,  rises  from  his 
sick-bed  in  order  to  pursue  the  fugitive. 

In  the  second  act  Dietrich  der  Reusse  arrives 
on  foot  at  Saben's  castle  in  Esthonia.  (Saben  is 
a  usurper,  who  has  dispossessed  King  Nentwin 
and  taken  possession  of  his  castle  and  his  daugh- 
ter Herrat.)  Dietrich's  steed  is  dead;  but  hear- 
ing his  pursuer  close  upon  his  heels,  he  takes 
refuge  in  an  adjacent  wood.  Herrat,  standing 
on  a  balcony,  has  recognized  him.  She  sees 
him  vanish  with  regret,  because  prediction  told 
her  that  a  Dietrich  would  be  her  deliverer  ;  but 
when  another  hero  comes  up  she  directs  him 
to  the  wood  to  which  Dietrich  has  flown.  She 
hears  the  combat  going  on  between  the  two,  and 
soon  the  pursuer  comes  back,  telling  her  that 
his  enemy  is  dead  and  begging  for  rest  and 
shelter.  When  he  tells  her  his  name,  she  starts 
back,  well  knowing  that  Saben,  who  has  slain 
Dietrich's  relatives,  will  not  receive  him  gra- 
ciously. She,  however,  accompanies  him  to  a 
room,  and,  determined  to  protect  him  against 
Saben's  wiles,  she  binds  up  his  wounds  and 
nurses  him  tenderly.  Saben,  entering,  recog- 
nizes the  Berner  by  his  celebrated  helmet;  he 
leaves  the  room,  telling  Herrat  to  look  well  after 
such  a  famous  guest.  But  Herrat's  mind  mis- 
gives her;  she  tries  to  rouse  the  hero,  who  has 
sunk  into  the  sleep  of  exhaustion,  and,  not  suc- 
ceeding, places  his  arms  well  within  his  reach. 

182 


Herrat 

When  she  is  about  to  withdraw,  she  sees  Saben 
return  with  a  band  of  assassins.  Their  murmurs 
rouse  Dietrich,  who  defends  himself  bravely,  slay- 
ing one  after  another.  But  his  strength  is  fail- 
ing, when  suddenly  a  disguised  youth  rushes  to 
his  assistance  with  eight  well-armed  companions. 
Saben's  men  are  slain;  Saben  himself  falls  a  vic- 
tim to  Dietrich's  sword.  When  the  youth  un- 
masks, Dietrich  recognizes  in  his  deliverer  Her- 
rat, his  sweet  nurse,  whose  likeness  to  his  own 
dead  wife,  Gotlinde,  has  moved  him  from  the 
first.  She  offers  him  her  father's  kingdom, 
which  he,  though  full  of  love  and  gratitude,  is 
loath  to  accept,  as  he  only  claims  her  heart  and 
hand.  But  ambition  urges  him  to  accept  her 
offer,  and  so  he  not  only  obtains  her  hand,  but 
is  proclaimed  King  of  Esthonia. 

The  third  act  presents  the  camp  of  the  Huns, 
pitched  southwards  of  Gran,  near  the  Danube. 
Etzel  has  already  twice  granted  respite  to  the 
Queen;  but  as  there  is  no  trace  of  the  two  Diet- 
richs,  Helke  is  now  to  be  executed.  Old  Hilde- 
brand,  one  of  the  Berner's  followers,  is  particu- 
larly inimical  to  her,  because  he  believes  her  to 
be  the  cause  of  his  beloved  master's  death. 

Suddenly  everybody's  attention  is  attracted 
to  a  ship  approaching  the  camp.  Hildebrand, 
perceiving  on  it  a  hero  in  disguise,  wearing 
Dietrich's  helmet,  with  Waldemar  and  Ilias, 
EtzeL's  enemies,  on  his  side,  calls  the  people  to 

183 


The  Standard  Operaglass 

arms.  But  when  the  foreign  knight  disembarks 
and,  unmasking,  shows  the  face  of  Dietrich  von 
Bern,  everybody  is  full  of  joy.  He  brings  the 
two  hostile  kings  as  prisoners  to  Etzel,  and  lays 
the  two  crowns  of  Esthonia  and  of  the  Wiking 
country  at  his  feet. 

Etzel's  brow,  however,  remains  sombre;  he 
sternly  asks  after  Dietrich  der  Eeusse.  The 
Berner,  unwilling  to  sing  his  own  praise,  is 
silent,  when  his  wife,  Herrat,  steps  forth,  relating 
how  her  hero  killed  his  antagonist  in  Saben's 
woods.  Now,  at  last,  Etzel  relents;  he  draws 
his  wife  to  his  breast  in  forgiveness,  and  all  sing 
hail  to  Etzel  and  Dietrich  and  to  their  Queen. 


HOCHZEITSMOKGEN 
(WEDDING  MORNING) 

Opera  in  one  act  by  KARL  VON  KASKEL 

Text  by  FKANZ  KOPPEL-ELLFELD 

This  opera,  which  was  represented  for  the 
first  time  at  the  Eoyal  Opera  in  Dresden,  on 
April  29,  1893,  is  the  first  attempt  of  its  young 
composer,  and,  as  such,  shows  considerable  tal- 
ent, even  genius. 

Indeed,  it  sins  rather  in  too  much  thau  in  too 
little  inventions;  it  would  seem  that  Kagkel's 

184 


Hochzeitsmorgen 

brain,  overflowing  with  musical  ideas,  wanted 
to  put  them  all  into  this*  one  first  child  of  his 
muse.  This  promises  well  for  the  future,  but 
it  explains  why  it  lacks  the  great  attraction  of 
Cavalleria,with  which  it  has  some  relation,  with- 
out imitating  it  in  the  least.  The  hearer's  at- 
tention is  tired  by  too  much,  and  divided  by 
lack  of,  unity.  Nevertheless  the  composer  has 
understood  how  to  make  the  most  of  a  some- 
what weak  libretto,  and  the  manner  in  which 
the  musical  interest  increases  from  scene  tc 
scene  is  admirable  in  a  beginner. 

The  scene  is  laid  in  an  Italian  frontier  fort- 
ress near  Mentone,  at  the  foot  of  Col  di  Tenda. 
It  may  be  added  here  that  the  national  color- 
ing is  particularly  well  hit. 

Giovanna,  the  daughter  of  Kegina  Negri,  an 
innkeeper,  is  betrothed  to  Pietro  Montalto,  Cap- 
tain of  the  Bersaglieri;  and  the  wedding  is  fixed 
for  the  following  morning.  Before  her  be- 
trothal Giovanna  has  carried  on  a  flirtation  with 
Paolo  Tosta,  a  wild  fellow,  who  unfortunately 
took  the  girl's  play  seriously,  and,  seeing  the 
friend  of  his  childhood  estranged  from  him,  has 
turned  smuggler  and  head  of  a  band  of  an- 
archists. Giovanna  is  afraid  of  him,  and  trem- 
bles for  her  bridegroom,  whom  she  loves  truly. 

However,  when  she  sees  Paolo  taken  captive 
and  sentenced  to  death  by  her  own  lover,  she 
implores  the  latter  to  deal  mercifully  with  the 

185 


The  Standard   Operaglass 

miscreant.  She  has  neglected  to  tell  him  of 
her  early  friendship  -for  the  captive,  and  so 
Pietro,  who  does  not  understand  her  softness 
for  the  ruffian,  refuses,  his  soldierly  honor  be- 
ing at  stake.  But  at  last  love  conquers,  and 
Giovanna  extracts  a  jiromise  from  him  to  let  the 
prisoner  escape  during  the  night. 

Left  alone,  Pietro's  keen  sense  of  duty  re- 
awakes,  and  he  leaves  the  place  without  freeing 
the  captive. 

However,  Toto,  a  dealer  in  tobacco,  Paolo's 
friend  and  helpmate  in  smuggling,  arrives  and 
releases  him.  Instead  of  escaping,  Paolo  seeks 
Giovanna,  and  when  she  turns  from  him  with 
loathing,  he  swears  either  to  possess  her  or  to 
destroy  her  bridegroom. 

On  the  following  morning  Pietro  hears  from 
Bastiano,  the  Bersaglieri  sergeant,  that  the 
keys  of  the  prison  have  been  stolen,  and  the 
prisoner  has  escaped.  Pietro  rejoices  that  this 
happened  without  his  own  intervention,  and 
turns  full  of  happiness  to  his  bride,  who  stands 
ready  for  the  wedding.  The  wedding  proces- 
sion is  slowly  moving  towards  church,  when  it 
is  suddenly  arrested  by  Paolo,  who  throws  him- 
self between  the  lovers.  "  Mine  she  was  before 
she  knew  you,"  he  cries  out  ;  "  to  me  she  swore 
eternal  faith,  which  she  has  now  falsely  broken." 
Giovanna,  struck  dumb  by  terror,  is  unable  to 
defend  herself,     Pietro  orders  his  men  to  re« 

186 


Les   Huguenots 

capture  the  ruffian;  but  quick  as  thought  Paolo 
has  deprived  the  soldier  nearest  to  him  of  his 
6abre  and,  with  the  words  "Thou  shalt  die 
first,"  has  thrust  it  towards  Pietro.  Alas!  it  is 
Giovauna's  breast  he  pierces;  she  has  shielded 
her  lover  with  her  own  body.  With  a  sweet 
smile  she  turns  to  Pietro,  who  implores  her  to 
speak.  "Pardon  me,"  she  sighs  faintly,  "he 
was  long  a  stranger  to  my  heart;  thee  alone  I 
loved,  to  thee  I  was  faithful  unto  death."  With 
these  loving  words  she  sinks  back,  expiring. 


LES  HUGUENOTS 

Grand  Opera  in  five  acts  by  GIACOMO  MEYERBEER 
Text  by  SCRIBE 

This  is  the  best  opera  of  this  fertile  composer, 
and  one  with  which  only  his  "  Eobert  le  diable  " 
can  compare. 

The  music  is  not  only  interesting,  but  highly 
dramatic;  the  "mise  en  scene,"  the  brilliant 
orchestration,  the  ballet,  everything  is  com- 
bined to  fascinate  the  hearer.  We  find  such  an 
abundance  of  musical  ideas,  that  we  feel  Berlioz 
but  spoke  the  truth  when  he  said  that  it  would 
do  for  twenty  others  of  its  kind. 

The  scene  is  laid  in  France,  at  the  time  of  the 
bloody  persecutions  of  the  Protestants  or  Hu- 

187 


The  Standard   Operaglass 

guenots  by  the  Catholics.  The  Duke  of  Medi- 
cis  has  apparently  made  peace  with  Admiral 
Coligny,  the  greatest  and  most  famous  of  the 
Huguenots;  and  we  are  introduced  into  the  cas- 
tle of  Count  Nevers,  where  the  Catholic  noble- 
men receive  Raoul  de  JSTangis,  a  Protestant,  Avho 
has  lately  been  promoted  to  the  rank  of  captain. 
During  their  meal  they  speak  of  love  and  its 
pleasures,  and  everybody  is  called  on  to  give  the 
name  of  his  sweetheart.  Raoul  begins  by  tell- 
ing them  that  once,  when  taking  a  walk,  he 
surprised  a  band  of  students  molesting  a  lady 
in  a  litter.  He  rescued  her,  and  as  she  gra- 
ciously thanked  him  for  his  gallant  service,  he 
thought  her  more  beautiful  than  any  maiden 
he  had  ever  before  seen.  His  heart  burnt  with 
love  for  her,  though  he  did  not  know  her  name. 
While  Eaoul  drinks  with  the  noblemen,  Marcel, 
his  old  servant,  warns  him  of  the  danger  of  do- 
ing so. 

Marcel  is  a  strict  old  Protestant;  and  sings  a 
ballad  of  the  Huguenots  to  the  young  people,  a 
song  wild  and  fanatic.  They  laugh  at  his  im- 
potent wrath,  when  a  lady  is  announced  to 
Count  Nevers,  in  whom  Raoul  recognizes  the 
lady  of  his  dreams. 

Of  course,  he  believes  her  false  and  bad,  while, 
as  a  matter  of  fact,  she  only  comes  to  beseech 
Nevers,  her  destined  bridegroom,  to  set  her 
free.    Nevers  does  so,  though  not  without  pain. 

m 


Les  Huguenots 

When  he  returns  to  his  companions,  he  conceals 
the  result  of  the  interview,  and  presently  TJr- 
bain,  a  page,  enters  with  a  little  note  for  Eaoul 
de  Naugis,  in  which  he  is  ordered  to  attend  a 
lady  unknown  to  him.  The  others  recognize 
the  seal  of  Queen  Margarita  of  Valois,  and,  find- 
ing him  so  worthy,  at  once  seek  to  gain  his 
friendship. 

In   the  second  act  we  find   Raoul  with   the 
beautiful  Queen,  who  is  trying  to  reconcile  the 
Catholics  with  the  Protestants.    To  this  end  the 
Queen  has  resolved  to  unite  Eaoul  with  Valen- 
tine, her  lady  of  honor,  and  daughter  of   the 
Count  of  St.  Bris,  a  staunch  Catholic.     Valen- 
tine tells  her  heart's  secret  to  her  mistress,  for 
to  her  it  was  that  Raoul  brought  assistance,  and 
she  loves  him.     The  noble  Raoul,  seeing  Mar- 
garita's beauty  and  kindness,  vows  himself  her 
knight,   when  suddenly  the  whole  court  enters 
to  render  her  homage.     Recognizing  her  at  last 
to  be  the  Queen,  Raoul  is  all  the  more  willing 
to  fulfil  her  wishes,  and  offers  his  hand  in  recon- 
ciliation to  the  proud  St.  Bris,  promising  to  wed 
his  daughter.    But  when  he  perceives  in  her  the 
unknown  lady  whom  he  believes  to  be  so  un- 
worthy, he  takes  back  his  word.     All  are  sur- 
prised,  and   the   offended   father  vows   bloody 
vengeance. 

In  the  third  act  Marcel  brings  a  challenge  to 
St.  Bris,  which   the  latter  accepts,  but  Maure- 

189 


The  Standard   Operaglass 

vert,  a  fanatical  Catholic  nobleman,  tells  him 
of  other  ways  in  which  to  annihilate  hiB  foe. 
Valentine,  though  deadly  offended  with  her 
lover,  resolves  to  save  him.  Seeing  Marcel, 
she  bids  him  tell  his  master  not  to  meet  his 
enemy  alone.  Meanwhile  Eaoul  is  already  on 
the  spot,  and  so  is  St.  Bris  with  four  witnesses. 
While  they  fight,  a  quarrel  arises  between  the 
Catholic  and  the  Protestant  citizens,  which  is 
stopped  by  Queen  Margarita.  The  enemies 
accuse  each  other,  and  when  the  Queen  is  in 
doubt  as  to  whom  she  shall  believe,  Valentine 
appears  to  bear  witness.  Then  Eaoul  hears  that 
her  interview  with  Nevers  had  been  but  a  fare- 
well, sought  for  but  to  loosen  forever  the  ties 
which  her  father  had  formed  for  her  against 
her  will;  but  the  knowledge  of  his  error  comes 
too  late,  for  St.  Bris  has  once  more  promised  his 
daughter  to  Nevers,  who  at  this  moment  arrives 
with  many  guests,  invited  for  the  wedding.  The 
presence  of  the  Queen  preserves  peace  between 
the  different  parties,  but  Eaoul  leaves  the  spot 
with  death  in  his  heart. 

In  the  fourth  act  the  dreadful  night  of  St. 
Bartholomew  is  already  beginning. 

We  find  Valentine  in  her  room  despairing. 
Eaoul  comes  to  take  a  last  farewell;  but  almost 
immediately  St.  Bris  enters  with  a  party  of 
Catholics,  and  Eaoul  is  obliged  to  hide  in  the 
adjoining  room.    There  he  hears  the  whole  con- 

190 


1 


Les  Huguenots 

spiracy  for  the  destruction  of  the  Protestants, 
beginning  with  their  leader,  Admiral  Coligny. 
The  Catholics  all  assent  to  this  diabolical  plot. 
Nevers  alone  refuses  to  soil  his  honor,  and 
swears  only  to  fight  in  open  battle.  The  others, 
fearing  treason,  decide  to  bind  and  keep  him 
prisoner  until  the  next  morning.  Eaoul  pre- 
pares to  save  his  brethren  or  die  with  them. 
Vain  are  Valentine's  entreaties;  though  she  con- 
fesses to  her  love  for  him,  he  yet  leaves  her, 
though  with  a  great  effort,  to  follow  the  path  of 
duty. 

In  the  last  act  Eaoul  rushes  pale  and  bloody 
nto  the  hall,  where  Queen  Margarita  sits  with 
her  husband,  Henry  of  Navarre,  surrounded  by 
the  court. 

He  tells  them  of  the  terrific  events  which  are 
going  on  outside,  and  beseeches  their  help.  It 
is  too  late,  however  ;  Coligny  has  already  fallen, 
and  with  him  most  of  the  Huguenots. 

Kaoul  meets  Valentine  once  more.  She  prom- 
ises to  save  him  if  he  will  go  over  to  her  faith. 
But  Marcel  reminds  him  of  his  oath,  and  Valen- 
tine, seeing  that  nothing  can  move  her  lover's 
fortitude  and  firmness,  decides  to  remain  with 
him.  She  accepts  his  creed,  and  so  they  meet 
death  together,  Valentine  falling  by  the  side  of 
her  deadly  wounded  lover,  both  praising  God 
with  their  last  breath. 


IQI 


The  Standard   Operaglass 

IDLE  HANS 

(DER  FAULE    HANS) 

Opera  in  one  act  by  A.  RITTER 

Text  after  a  poetic  tale  by  FELX  DAHN 

The  composer  of  this  hitherto  unknown  opera 
is  no  young  man.  He  is  over  sixty,  and  his 
well-deserved  fame  reaches  him  but  tardily. 
Alexander  Ritter,  a  relation  and  a  true  friend 
of  Wagner's,  was  one  of  the  few  who  gave  his 
help  to  the  latter  when  he  fled  to  Switzerland 
poor  and  abandoned.  Though  a  warm  admirer 
of  Wagner's  music,  Ritter  is  not  his  echo.  His 
music,  saturated  with  the  modern  spirit,  is  abso- 
lutely independent  and  original.  His  compo- 
sitions are  not  numerous:  two  operas  and  a  few 
songs  are  almost  all  he  did  for  immortality,  but 
they  all  wear  the  stamp  of  a  remarkable  talent. 
"  Idle  Hans  "  is  a  dramatic  fairy  tale  of  poetical 
conception.  Its  strength  lies  in  the  orchestra, 
which  is  wonderfully  in  tune  with  the  different 
situations.  After  having  been  represented  in 
Weimar  ten  years  ago,  the  opera  fell  into  obliv- 
ion, from  which  it  has  now  come  forth,  and  was 
given  on  the  Dresden  stage  on  November  9, 
1892.  It  has  met  with  unanimous  approval 
from  all  those  who  understand  fine  and  spir- 
itual music. 

192 


Idle  Hans 

The  plot  is  soon  told. 

Count  Hartung  has  seven  sons,  all  grown  up 
after  his  own  heart  except  the  youngest,  Hans, 
called  the  Idle,  who  prefers  basking  in  the  sun- 
shine and  dreaming  away  his  life  to  hunting 
and  fighting.  He  is  a  philosopher  and  a  true 
type  of  the  German,  patient,  cpiiet,  and  phleg- 
matic, who  does  not  deem  it  worth  his  while  to 
move  a  finger  for  all  the  shallow  doings  of  the 
world  in  general,  and  his  brothers  in  particular. 
The  son's  idleness  so  exasperates  his  father  that 
he  orders  him  to  be  chained  like  a  criminal  to  a 
huge  oaken  post  standing  in  the  court-yard,  for- 
bidding anybody,  under  heavy  penalty,  to  speak 
to  him.  His  brothers  pity  him,  but  they  obey 
their  father. 

Left  alone,  Hans  sighs  after  his  dead  mother, 
who  so  well  understood  him,  and  who  had 
opened  his  eyes  and  heart  to  an  ideal  world, 
with  all  that  is  good  and  noble.  Far  from  loath- 
ing his  father,  he  only  bewails  the  hardness  of 
him,  for  whose  love  he  craves  in  vain.  At  last 
he  falls  asleep.  Seeing  this,  the  maid-servants 
come  to  mock  him  (by  the  by,  a  delightful  piece 
of  music  is  this  chatter  chorus).  When  Hans 
has  driven  away  the  impudent  hussies,  his 
brother  Ralph,  the  singer,  approaches  to  assure 
him  of  his  unvarying  love.  He  is  the  only  one 
who  believes  in  Hans's  worth,  and  now  tries 
hard  to  rouse  him  into  activity,  for  he  has 
13  J93 


The  Standard   Operaglass 

heard  that  the  Queen  is  greatly  oppressed  by 
her  enemies,  the  Danes.  But  Hans  remains 
unmoved,  telling  him  quietly  to  win  his  laurels 
without  him.  In  the  midst  of  their  colloquy 
the  Herald's  voice  announces  that  the  battle  is 
lost,  and  that  the  Queen  is  coming  to  the  castle, 
a  fugitive.  The  old  Count  descends  from  his 
tower  to  assemble  his  sons  and  his  vassals. 
Hardly  are  they  ready,  when  the  Queen  rides 
up  to  ask  for  protection.  The  gate  closes  be- 
hind her,  and  the  old  Count  does  homage,  while 
Hans,  still  lying  idle  on  his  straw,  stares  at  her 
beauty  with  new  awakened  interest.  But  the 
enemy  is  coming  nearer;  all  the  Count's  well- 
trained  soldiers  are  defeated,  and  already 
Harald,  the  Danish  King,  peremptorily  orders 
them  to  surrender.  Now  Hans  awakes.  His 
effort  to  break  his  chains  excites  the  Queen's 
attention,  who  asks  the  old  Count  for  what 
crime  the  beautiful  youth  is  punished  so 
severely.  The  father  disowns  his  son;  but  at 
this  moment  the  gate  gives  way  and  in  rushes 
Harald,  who  is  met  by  old  Hartung.  Alas!  the 
Count's  sword  breaks  in  pieces.  With  the  cry, 
"Now  it  is  worth  while  acting,"  Hans  breaks 
his  fetters,  and  brandishing  the  oaken  post  to 
which  he  was  chained,  he  fells  Harald  to  the 
ground  with  one  mighty  stroke.  Konrad,  the 
valet,  fetters  the  giant,  and  Hans  slays  every 
one  wh»  tries  to  enter;  then,  rushing  out,  de- 

194 


Idomeneus 

livers  his  brothers  and  puts  the  whole  army  to 
flight.  Then  lie  returns  to  the  Queen,  who  has 
witnessed  his  deeds  with  a  heart  full  of  deep 
admiration,  and  swears  allegiance.  Heartily 
thanking  him,  she  only  now  hears  that  the  young 
hero  is  Hartung's  son,  and,  full  of  gratitude,  she 
offers  him  one-half  of  her  kingdom.  But  Hans 
the  Idler  does  not  care  for  a  crown;  it  is  her 
own  sweet  self  he  wants,  and  boldly  he  claims 
her  hand.  Persuaded  to  have  found  in  him  a 
companion  for  life  as  true  and  loyal  as  ever 
lived,  she  grants  him  her  heart  and  kingdom. 


IDOMENEUS 

Opera  in  three  acts  by  W.  A.  MOZART 
Text   by    ABBATE    GIANBATTISTA    VARESCO 

This  opera,  which  Mozart  composed  in  his 
twenty-fifth  year  for  the  Opera-seria  in  Munich, 
was  represented  in  the  year  1781,  and  won  bril- 
liant success. 

It  is  the  most  remarkable  composition  of  Mo- 
zart's youthful  age,  and  though  he  wrote  it  un- 
der Gluck's  influence,  there  is  many  a  spark  of 
his  own  original  genius,  and  often  he  breaks  the 
bonds  of  conventional  form  and  rises  to  heights 
hitherto  unanticipated.  The  public  in  general 
does  not  estimate  the  opera  very  highly.    In  con- 

i95 


The  Staadard  Operaglass 

sequence  Idomeneus  was  represented  in  Dresden, 
after  the  long  interval  of  twenty-one  years,  only 
to  find  the  house  empty  and  the  applause  luke- 
warm. But  the  true  connoisseur  of  music 
ought  not  to  be  influenced  by  public  opinion, 
for  though  the  action  does  not  warm  the  hearer, 
the  music  is  at  once  divinely  sweet  and  har- 
monious; no  wild  excitement,  no  ecstatic  feel- 
ings, but  music  pure  and  simple,  filling  the  soul 
with  sweet  content. 

The  scene  takes  place  in  Cydonia,  on  the  isle 
of  Crete,  soon  after  the  end  of  the  Trojan  war. 

In  the  first  act  Ilia,  daughter  of  Priam,  be- 
wails her  unhappy  fate  ;  but  won  by  the  mag- 
nanimity of  Idamantes,  son  of  Idomeneus,  King 
of  Crete,  who  relieves  the  captive  Trojans  from 
their  fetters,  she  begins  to  love  him,  much 
against,  her  own  will.  Electra,  daughter  of 
Agamemnon,  who  also  loves  Idamantes,  per- 
ceives with  fury  his  predilection  for  the  captive 
princess  and  endeavors  to  regain  his  heart. 

Arbaces,  the  High-priest,  enters,  to  announce 
that  Idomeneus  has  perished  at  sea  in  a  tem- 
pest. All  bewail  this  misfortune  and  hasten  to 
the  strand  to  pray  to  the  gods  for  safety. 

But  Idomeneus  is  not  dead.  Poseidon,  whose 
help  he  invoked  in  his  direst  need,  has  saved 
him,  Idomeneus  vowing  to  sacrifice  to  the  god 
the  first  mortal  whom  he  should  encounter  on 
landing.     Unfortunately,  it  is  his  own  son,  who 

196 


Idomeneus 

comes  to  the  strand  to  mourn  for  his  beloved 
father.  Idomeneus,  having  been  absent  during 
the  siege  of  Troy  for  ten  years,  at  first  fails  to 
recognize  his  son.  But  when  the  truth  dawns 
on  both,  the  son's  joy  is  as  great  as  his  father's 
misery.  Terrified,  the  latter  turns  from  the 
aggrieved  and  bewildered  Idamantes.  Mean- 
while the  King's  escort  has  also  safely  landed, 
and  all  thank  Poseidon  for  their  delivery. 

In  the  second  act  Idomeneus  takes  counsel 
with  Arbaces,  and  resolves  to  send  his  son  away, 
in  order  to  save  him  from  the  impending  evil. 
The  King  speaks  to  Ilia,  whose  love  for  Ida- 
mantes  he  soon  divines.  This  only  adds  to  his 
poignant  distress.  Electra,  hearing  that  she  is 
to  accompany  Idamantes  to  Argos,  is  radiant, 
hoping  that  her  former  lover  may  then  forget 
Ilia.  They  take  a  tender  farewell  from  Ido- 
meneus, but  just  when  they  are  about  to  em- 
bark, a  dreadful  tempest  arises,  and  a  monster 
emerges  from  the  waves,  filling  all  present  with 
awe  and  terror. 

In  the  third  act  Idamantes  seeks  Ilia  to  bid 
her  farewell.  Not  anticipating  the  reason  of 
his  father's  grief,  which  he  takes  for  hate,  he  is 
resolved  to  die  for  his  country,  by  either  van- 
quishing the  dreadful  monster  sent  by  Posei- 
don's wrath,  or  by  perishing  in  the  combat. 

Ilia,  unable  to  conceal  her  love  for  him  anv 
longer,  bids  him  live,  live  for  her.     In  his  new- 

'97 


The  Standard  Operaglass 

found  happiness  Idamantes  forgets  his  grief, 
and  when  his  father  surprises  the  lovers,  he  im- 
plores him  to  calm  his  wrath,  and  rushes  away, 
firmly  resolved  to  destroy  the  monster. 

With  terrible  misgivings  Idomeneus  sees  Ar- 
baces  approach,  who  announces  that  the  people 
are  in  open  rebellion  against  him.  The  King 
hastens  to  the  temple,  where  he  is  received  with 
remonstrances  by  the  High -priest,  who  shows 
him  the  horrid  ravages  which  Poseidon's  wrath 
has  achieved  through  the  monster;  he  entreats 
him  to  name  the  victim  for  the  sacrifice  and  to 
satisfy  the  wishes  of  the  god.  Eent  by  remorse 
and  pain,  Idomeneus  finally  names  his  son. 

All  are  horror-stricken,  and  falling  on  their 
knees,  they  crave  Poseidon's  pardon.  While 
they  yet  kneel,  loud  songs  of  triumph  are  heard, 
and  Idamantes  returns  victorious  from  his  fight 
with  the  monster. 

With  noble  courage  he  throws  himself  at  his 
father's  feet,  imploring  his  benediction  and — 
his  death.  For,  having  heard  of  his  father's  un- 
happy vow,  he  now  comprehends  his  sorrow, 
and  endeavors  to  lessen  his  grief. 

Idomeneus,  torn  by  conflicting  feelings,  at 
last  is  about  to  grant  his  son's  wish,  but  when 
he  lifts  his  sword,  Ilia  throws  herself  between, 
imploring  him  to  let  her  be  the  victim.  A 
touching  scene  ensues  between  the  lovers,  but 
Ilia  gains  her  point.     Just  when  she  is  about  to 

198 


Ingrid 

receive  her  death-stroke,  Poseidon's  pity  is  at 
last  aroused.  In  thunder  and  lightning  he  de- 
crees that  Idomeueus  is  to  renounce  his  throne 
in  favor  of  Idamantes,  for  whose  spouse  he 
chooses  Ilia. 

In  a  concluding  scene  Ave  see  Electra  tor- 
mented by  the  furies  of  hate  and  jealousy. 
Idomeneus  fulfils  Poseidon's  request,  and  all  in- 
voke the  god's  benediction  on  the  happy  royal 
house  of  Crete. 


INGRID 

Opera  in  two  acts  by  KARL  GRAMMANN. 

Text  by  T.  KERSTEN 

Ingrid  is  a  musical  composition  of  consider- 
able interest,  the  local  toue  and  coloring  being 
so  well  hit.  It  is  a  Norwegian  picture,  with 
many  pretty  and  original  customs,  to  which  the 
music  is  well  adapted  and  effective,  without  be- 
ing heart-stirring. 

The  scene  is  laid  in  Varo  in  Norway.  Helga, 
the  rich  Norwegian  peasant,  Wandrup's  daugh- 
ter, is  to  wed  Godila  Swestorp,  her  cousin,  and 
the  most  desirable  young  man  in  the  village. 
She  entertains  but  friendly  feelings  for  him, 
while  her  heart  belongs  to  a  young  German 
traveller;  and  Godila,  feeling  that  she  is  differ- 

199 


The  Standard  Operaglass 

ent  from  what  she  was,  keeps  jealous  watch  over 
her,  and  swears  to  destroy  his  rival. 

In  the  second  scene  Ingrid,  a  young  girl 
(coach  maid)  whose  business  it  is  to  direct  the 
carioles  from  station  to  station,  drives  up  with 
the  German  Erhard,  who,  meeting  with  a  severe 
accident  in  the  mountains,  is  saved  by  her  cour- 
age. Full  of  tenderness,  she  dresses  his  wounds; 
he  thanks  her  warmly,  and  presents  her  with  a 
miniature  portrait  of  his  mother.  She  mistakes 
his  gratitude  for  love,  and  it  fills  her  with  hap- 
piness, which  is  instantly  destroyed  when  Helga 
appears  and  sinks  on  the  breast  of  her  lover. 
Ingrid,  a  poor  orphan,  who  never  knew  father 
or  mother,  is  deeply  disappointed,  and  bitterly 
reproaches  Heaven  for  her  hard  fate.  The 
scene  is  witnessed  by  old  father  Wandrup,  in 
whose  heart  it  arouses  long-buried  memories, 
and  he  tries  to  console  Ingrid.  But  When  she 
claims  the  right  to  hear  more  of  her  parents  he 
only  says  that  she  was  found  a  babe  at  his 
threshold  twenty-five,  years  ago,  and  that  noth- 
ing was  ever  heard  of  her  father  and  mother. 

The  second  act  opens  with  a  pretty  national 
festival,  in  which  the  youths  and  maidens, 
adorned  with  wild  carnations,  wend  their  way  in 
couples  to  Ljora  (love's  bridge  in  the  people's 
mouth),  from  whence  they  drop  their  flowers 
into  the  foaming  water.  If  they  chance  to  be 
carried  out  to  sea  together,  the  lovers  will  be 

200 


Ingrid 

united ;  if  not,  woe  to  them,  for  love  and  friend- 
ship will  die  an  untimely  death.  Godila  tries 
to  offer  his  carnations  to  Helga,  but  she  dex- 
terously avoids  him.  and  succeeds  in  having  a 
short  interview  with  Erhard,  with  whom  she  is 
to  take  flight  on  a  ship,  whose  arrival  is  just 
announced.  Erhard  goes  off  to  prepare  every- 
thing, and  a  few  minutes  afterwards  Helga 
comes  out  of  the  house  in  a  travelling  dress. 
But  Godila,  who  has  promised  Wandrup  to 
watch  over  his  daughter,  detains  her. 

Wild  with  love  and  jealousy,  he  strains  her 
to  his  breast  and  drags  her  towards  the  Ljora 
bridge.  Helga  vainly  struggles  against  the 
madman;  but  Ingrid,  who  has  witnessed  the 
whole  occurrence,  waves  her  white  kerchief  in 
the  direction  of  the  ship,  and  calls  back  Erhard, 
who  is  just  in  time  to  spring  on  the  bridge, 
when  its  railing  gives  way,  and  Godila,  wrho 
has  let  Helga  fall  at  the  approach  of  his  enemy, 
is  precipitated  into  the  waves.  Erhard  tries  to 
save  him,  but  is  prevented  by  Ingrid,  who  inti- 
mates that  all  efforts  would  be  useless.  Helga, 
in  a  swoon,  is  carried  to  the  house,  when  Wand- 
rup, seeing  his  child  wounded  and  appai-ently 
lifeless,  calls  Godila,  and  hears  with  horror  that 
his  body  has  been  found  dashed  to  pieces  on  the 
rocks.  Now  the  father's  wrath  turns  against 
Erhard^  in  whom  he  6ees  Godila's  murderer, 
but   Ingrid,    stepping    forth,    relates   how    the 

201 


LIBRARY 

8TATS- 
•ANTA    BAH 


£ 


The   Standard   Operaglass 

catastrophe  happened,  and.  how  Godila  seemed  to 
be  punished  by  Heaven  for  his  attack  on  Helga. 
Everybody  is  touched  by  poor,  despised  Ingrid's 
unselfishness;  she  even  pleads  for  Iielga's  union 
with  Erhard,  nobly  renouncing  her  own  claims 
on  his  love  and  gratitude.     Wandrup  relents, 
and  the  happy  lovers  go  on  the  Ljora  bridge, 
whence  their  carnations  float  out  to  sea  side  by 
side.     The  ship's  departure  is  signalled,  and  all 
accompany  the  lovers  on  board.     Only  Ingrid 
remains.     Her  strength  of  mind  has  forsaken 
her;  a  prey  to  wild  despair,  she  resolves  to  de- 
stroy herself.     Taking  a  last  look  at  Erhard's 
gift,  the  little   medallion   picture,  she  is  sur- 
prised by  Wandrup,  who  recognizes  in  it  his  own 
dead  love.     "  She  is  thy  mother,  too,  Ingrid," 
he  cries  out.     "  My  mother,  she,  and   Erhard 
my  brother  !  "     This  is  too  much  for  Ingrid. 
With  an  incoherent  cry  she  rushes  on  the  bridge, 
intending   to   throw  herself   over.     But  Wand- 
rup beseechingly  stretches  out  his  arms,  crying, 
"Ingrid,  stay,  live  for  thy  father."     At  first 
the  unhappy  girl  shrinks  back,  but  seeing  the 
old  man's  yearning  love,  she  sinks  on  her  knees, 
then,  slowly  rising,  she  returns  to  her  father, 
who  folds  her  in  loving  embrace. 


202 


Iphigenia   in   Aulis 


IPHIGENIA  IN  AULIS 

Grand   Opera  in   three   acts  by  GLUCK 
Text  of  the  original  rearranged  by  R.  WAGNER 

This  opera,  though  it  does  not  stand,  from  the 
point  of  view  of  the  artist,  on  the  same  level 
with  Iphigenia  in  Tauris,  deserves,  nevertheless, 
to  be  represented  on  every  good  stage.  It  may 
be  called  the  first  part  of  the  tragedy,  and 
Iphigenia  in  Tauris  very  beautifully  completes 
it.  The  music  is  sure  to  be  highly  relished  by 
a  cultivated  hearer,  characterized  as  it  is  by  a 
simplicity  which  often  rises  into  grandeur  and 
nobility  of  utterance. 

The  first  scene  represents  Agamemnon  rent 
by  a  conflict  between  his  duty  and  his  fatherly 
love;  the  former  of  which  demands  the  sacri- 
fice of  his  daughter,  for  only  then  will  a  favor- 
able wind  conduct  the  Greeks  safely  to  Ilion. 
Kalchas,  the  High -priest  of  Artemis,  appears  to 
announce  her  dreadful  sentence.  Alone  with 
the  King,  Kalchas  vainly  tries  to  induce  the 
unhappy  father  to  consent  to  the  sacrifice. 

Meanwhile  Iphigenia,  who  has  not  received 
Agamemnon's  message,  which  ought  to  have 
prevented  her  undertaking  the  fatal  journey, 
arrives  with  her  mother,  Klytemnestra.     They 

203 


The  Standard  Operaglass 

are  received  with  joy  by  the  people.  Agamem- 
non  secretly  informs  his  spouse  that  Achilles, 
Iphigenia's  betrothed,  has  proved  unworthy  of 
her,  and  that  she  is  to  return  to  Argos  at  once. 
Iphigenia  gives  way  to  her  feelings.  Achilles 
appears,  the  lovers  are  soon  reconciled,  and  pre- 
pare to  celebrate  their  nuptials. 

In  the  second  act  Iphigenia  is  adorned  for  her 
wedding,  and  Achilles  comes  to  lead  her  to  the 
altar,  when  Arkas,  Agamemnon's  messenger, 
informs  them  that  death  awaits  Iphigenia. 

Klytemnestra,  in  despair,  appeals  to  Achilles, 
and  the  bridegroom  swears  to  protect  Iphigenia. 
She  alone  is  resigned  in  the  belief  that  it  is  her 
father's  will  that  she  should  face  this  dreadful 
duty.  Achilles  reproaches  Agamemnon  wildly, 
and  leaves  the  unhappy  father  a  prey  to  mental 
torture.  At  last  he  decides  to  send  Arkas  at 
once  to  Mykene  with  mother  and  daughter,  and 
to  hide  them  there  until  the  wrath  of  the  god- 
dess be  appeased.     But  it  is  too  late. 

In  the  third  act  the  people  assemble  before 
the  royal  tent  and,  with  much  shouting  and 
noise,  demand  the  sacrifice.  Achilles  in  vain 
implores  Iphigenia  to  follow  him.  She  is  ready 
to  be  sacrificed,  while  he  determines  to  kill  any 
one  who  dares  touch  his  bride.  Klytemnestra 
then  tries  everything  in  her  power  to  save  her. 
She  offers  herself  in  her  daughter's  stead,  and 
finding  it  of  no  avail,  at  last  sinks  down  in  a 

204 


Iphigenia  in  Aulis 

swoon.  The  daughter,  having  bade  her  an 
eternal  farewell,  with  quiet  dignity  allows  her- 
self to  be  led  to  the  altar.  When  her  mother 
awakes,  she  rages  in  impotent  fury;  then  she 
hears  the  people's  hymn  to  the  goddess,  and 
rushes  out  to  die  with  her  child.  The  scene 
changes.  The  High-priest  at  the  altar  of  Ar- 
temis is  ready  to  pierce  the  innocent  victim. 
A  great  tumult  arises;  Achilles  with  his  native 
Thessalians  makes  his  way  through  the  crowd, 
in  order  to  save  Iphigenia,  who  loudly  invokes 
the  help  of  the  goddess.  But  at  this  moment  a 
loud  thunder-peal  arrests  the  contending  parties, 
and  when  the  mist,  which  has  blinded  all,  has 
passed,  Artemis  herself  is  seen  in  a  cloud  with 
Iphigenia  kneeling  before  her. 

The  goddess  announces  that  it  is  Iphigenia's 
high  mind  which  she  demands,  and  not  her 
blood ;  she  wishes  to  take  her  into  a  foreign 
land,  where  she  may  be  her  priestess  and  atone 
for  the  sins  of  the  blood  of  Atreus. 

A  wind  favorable  to  the  fleet  has  risen,  and 
the  people,  filled  with  gratitude  and  admiration, 
behold  the  vanishing  cloud  and  praise  the  god- 
dess. 


ao5 


The  Standard  Operagiass 
IPHIGENIA  IN  TAURIS 

Opera  in  four  acts  by  GLUCK 
Text  by  GU1LLARD 

Gluck's  Iphigenia  stands  highest  among  his 
dramatic  compositions.  It  is  eminently  classic, 
and  so  harmoniously  finished  that  Herder  called 
its  music  sacred. 

The  libretto  is  excellent.  It  follows  pretty 
exactly  the  Greek  original. 

Iphigenia,  King  Agamemnon's  daughter,  who 
has  been  saved  by  the  goddess  Diana  (or  Ar- 
temis) from  death  at  the  altar  of  Aulis,  has  been 
carried  in  a  cloud  to  Tauris,  where  she  is  com- 
pelled to  be  High-priestess  in  the  temple  of  the 
barbarous  Scythians.  There  we  find  her,  after 
having  performed  her  cruel  service  for  fifteen 
years.  Human  sacrifices  are  required,  but  more 
than  once  she  has  saved  a  poor  stranger  from 
this  awful  lot. 

Iphigenia  is  much  troubled  by  a  dream  in 
which  she  saw  her  father  deadly  wounded  by 
her  mother,  and  herself  about  to  kill  her  brother 
Orestes.  She  bewails  her  fate  in  having,  at 
the  behest  of  Thoas,  King  of  the  Scythians,  to 
sacrifice  two  strangers  who  have  been  thrown 
on  his  shores.     Orestes  and  his  friend  Pylades, 

206 


Iphigenia  in  Tauris 

for  these  are  the  straugers,  are  led  to  death, 
loaded  with  chains. 

Iphigenia,  hearing  that  they  are  her  country- 
men, resolves  to  save  at  least  one  of  them,  in 
order  to  send  him  home  to  her  sister  Electra. 
She  does  not  know  her  brother  Orestes,  who, 
having  slain  his  mother,  has  fled,  pursued  by 
the  furies,  but  an  inner  voice  makes  her  choose 
him  as  a  messenger  to  Greece.  A  lively  dispute 
arises  between  the  two  friends.  At  last  Orestes 
prevails  upon  Iphigenia  to  spare  his  friend,  by 
threatening  to  destroy  himself  with  his  own 
hands,  his  life  being  a  burden  to  him.  Iphi- 
genia reluctantly  complies  with  his  request, 
giving  the  message  for  her  sister  to  Py lades. 

In  the  third  act  Iphigenia  vainly  tries  to  steel 
her  heart  against  her  victim.  At  last  she  seizes 
the  knife,  but  Orestes's  cry:  "  So  you  also  were 
pierced  by  the  sacrificial  steel,  0  my  sister 
Iphigenia!"  arrests  her;  the  knife  falls  from 
her  hands,  and  there  ensues  a  touching  scene  of 
recognition. 

Meanwhile  Thoas,  who  has  heard  that  one  of 
the  strangers  was  about  to  depart,  enters  the 
temple  with  his  body-guard,  and  though  Iphi- 
genia tells  him  that  Orestes  is  her  brother  and 
entreats  him  to  spare  Agamemnon's  son,  Thoas 
determines  to  sacrifice  him  and  his  sister  Iphi- 
genia as  well.  But  his  evil  designs  are  frus- 
trated by  Pylades,  who,  returning  with  several 

207 


The  Standard  Operaglass 

of  his  countrymen,  stabs  the  King  of  Tauris. 
The  goddess  Diana  herself  appears,  and  helping 
the  Greeks  in  their  fight,  gains  for  them  the 
victory.  Diana  declares  herself  appeased  by 
Orestes's  repentance,  and  allows  him  to  return  to 
Mykene  with  his  sister,  his  friend,  and  all  his 
followers. 


IKKLICHT 

(WILL-O'-THE-WISP) 
Opera  in  one  act  by  KARL  GRAMMANN. 
Text  by  KURT  GEUCKE 

With  "Irrlicht"  the  composer  takes  a  step 
towards  verism  ;  both  subject  and  music  are 
terribly  realistic,  though  without  the  least  shade 
of  triviality.  The  music  is  often  of  brilliant 
dramatic  effect,  and  the  fantastic  text,  well 
matching  the  music,  is  as  rich  in  thrilling  facts 
as  any  modern  Italian  opera.  Indeed  this  seems 
to  be  by  far  the  best  opera  which  the  highly 
gifted  composer  has  written. 

The  scene  is  laid  on  a  pilot's  station  on  the 
coast  of  Normandy.  A  pilot-boat  has  been 
built  and  is  to  be  baptized  with  the  usual  cere- 
monies. Tournaud,  an  old  ship  captain,  expects 
his  daughter  Gervaise  back  from  a  stay  in  Paris. 
He  worships  her,  and  when  she  arrives  he  is 

2o9 


Irrlicht 

almost  beside  himself  with  joy  and  pride.  But 
Gervaise  is  pale  and  sad,  and  hardly  listens  to 
gay  Marion,  who  tells  her  of  the  coming  festi- 
val. Meanwhile  all  the  fisher  people  from  far 
and  near  assemble  to  participate  in  the  baptism, 
and  Andre,  who  is  to  be  captain  of  the  boat, 
is  about  to  choose  a  godmother  amongst  the 
fair  maidens  around,  when  he  sees  Gervaise  com- 
ing out  of  the  house,  where  she  has  exchanged 
her  travelling  garb  for  a  national  dress.  For- 
gotten are  all  the  village  lassies,  and  Andre 
chooses  Gervaise,  who  reluctantly  consents  to 
baptize  the  boat,  and  is  consequently  received 
very  ungraciously  by  the  maidens  and  their 
elders.  She  blesses  the  boat,  which  sails  off 
among  the  cheers  of  the  crowd  with  the  simple 
words:  "God  bless  thee."  Andre,  who  loves 
Gervaise  with  strong  and  everlasting  affection, 
turns  to  her,  full  of  hope.  He  is  gently  but 
firmly  rebuked,  and  sadly  leaves  her,  while  Ger- 
vaise is  left  to  her  own  sad  memories,  which 
carry  her  back  to  the  short  happy  time  when 
she  was  loved  and  won  and,  alas !  forsaken  by  a 
stranger  of  high  position.  Marion,  who  loves 
Andre  hopelessly,  vainly  tries  to  brighten  up 
her  companion.  They  are  all  frightened  by  the 
news  of  a  ship  being  in  danger  at  sea.  A  vio- 
lent storm  has  arisen,  and  when  Maire  Grisard, 
the  builder  of  the  yacht,  pronounces  her  name 
"Irrlicht,"  Gervaise  starts  with  a  wild  cry. 
14  209 


The  Standard  Operaglass 

The  ship  is  seen  battling  with  the  waves,  while 
Andre  rushes  in  to  bring  Gervaise  a  telegraphic 
dispatch  from  Paris.     It  tells  her  that  her  child 
is  at  death's  door.     Tournaud,  catching  the  pa- 
per, in  a  moment  guesses  the  whole  tragedy  of 
his  daughter's  life.     In  his  shame  and  wrath 
he  curses  her,  but  all  her  thoughts  are  centred 
on  the  ship,  on  which  the  Count,  her  child's 
father,   is  struggling   against  death.     She   im- 
plores Andre  to  save  him,  but  he  is  deaf  to  her 
entreaties.     Then   she   rushes   off   to   ring  the 
alarm-bell,  but  nobody  dares  to  risk  his  life  in 
the  storm.     At  last,  seeing  all  her  efforts  vain, 
she   looses  a   boat,  and  drives   out  alone  into 
night  and  perdition.     As  soon  as  Andre  per- 
ceives her  danger  he  follows  her.     At  this  mo- 
ment a  flash  of  lightning,  which  is  followed  by  a 
deafening  crash,  shows  the  yacht  rising  out  of 
the  wavfts  for  the  last  time,  and  then  plunging 
down  into  a  watery  grave  forever.     The  whole 
assembly  sink  on  their  knees  in  fervent  prayer, 
which  is  so  far  granted  that  Andre  brings  back 
Gervaise  unhurt.     She  is  but  in  a  deep  swoon, 
and  her  father,  deeply  touched,  pardons  her. 
When   she   opens   her   eyes    and   shudderingly 
understands  that  her  sacrifice  was  fruitless,  she 
takes  a  little  flask  of  poison  from  her  bosom  and 
slowly  empties  it.     Then,  taking  a  last  farewell 
of  the  home  of  her  childhood  and  of  her  early 
love,  she  recommends  Marion  to  Andre's  care. 


2IO 


Jean  de  Paris 

By  this  time  the  poison  has  begun  to  take  effect, 
and  the  poor  girl,  thinking  that  in  the  waving 
willow  branches  she  sees  the  form  of  her  lover, 
beckoning  to  her,  sighs  "  I  come,  beloved,"  and 
sinks  back  dead. 


JEAN  BE  PAEIS 

Comic  Opera  in  three  acts  by  ADRIEN  BOIELDIEU 
Text  by  ST.  JUST 

After  a  lapse  of  many  years  this  spirited  little 
opera  has  again  been  put  upon  the  stage,  and  its 
success  has  shown  that  true  music  never  grows 
old. 

Next  to  the  "Dame  blanche  "  "Jean  de  Paris" 
is  decidedly  the  best  of  Boieldieu's  works;  the 
music  is  very  graceful,  fresh,  and  lively,  and  the 
plot,  though  simple  and  harmless,  is  full  of 
chivalric  honor  and  very  winning. 

The  scene  takes  us  back  to  the  17th  century, 
and  we  find  ourselves  in  an  inn  of  the  Pyrenees. 

The  young  and  beautiful  Princess  of  Navarre, 
being  widowed,  and  her  year  of  mourning  hav- 
ing passed,  is  induced  by  her  brother,  the  King 
of  Navarre,  to  marry  again.  The  French 
Crown  Prince  has  been  selected  by  the  two  courts 
as  her  future  husband,  but  both  parties  are  of  a 

211 


The  Standard  Operaglass 

somewhat  romantic  turn  of  mind,  and  desire  to 
know  each  other  before  being  united  for  life. 

For  this  purpose  the  Prince  undertakes  a 
journey  to  the  Pyrenees,  where  he  knows  the 
Princess  to  be. 

In  the  first  scene  we  see  preparations  being 
made  for  the  reception  of  the   Princess,  whose 
arrival  has  been  announced  by  her  Seneschal. 
In  the  midst  of  the  bustle  there  enters  a  simple 
page  to  demand  rooms  for  his  master.     As  he 
is  on  foot,  the  host  treats  him  spitefully,  but  his 
daughter  Lorezza,  pleased  with  his  good  looks, 
promises  him  a  good  dinner.     While  they  are 
still  debating,  the  numerous  suite  of  the  Prince 
comes  up  and,  without  further  ado,  takes  posses- 
sion of  the  house  and  stables  which  have  been 
prepared  for  the  Princess  and  her  people.     The 
host  begins  to  feel  more  favorably  inclined  to- 
wards the  strange  Seigneur,  though  he  does  not 
understand  how  a  simple  citizen  of  Paris  (this 
is  the  Prince's  incognito)  can  afford  such  luxury. 
By  the  time  "  Monsieur  Jean  de  Paris  "  ar- 
rives the  host's  demeanor  has  entirely  changed, 
and  seeing  two  large  purses  with  gold,  he  aban- 
dons the  whole  house  to  the  strange  guest,  hop- 
ing that  he  shall  have  prosecuted  his  journey 
before  the  arrival  of  the  Princess.     But  he  has 
been  mistaken,  for  no  sooner  are  Jean  de  Paris's 
people  quartered  in  the   house  than   the  Sen- 
eschal, a  pompous  Spanish  Grandee,  arrives  to 

212 


Jean  de   Paris 

announce  the  coming  of  the  Princess.  The 
host  is  hopelessly  embarrassed,  and  the  Seneschal 
rages  at  the  impudence  of  the  citizen,  but  Jean 
de  Paris  quietly  intimates  that  the  house  and 
everything  in  it  are  hired  by  him,  and  courte- 
ously declares  that  he  will  play  the  host  and 
invite  the  Princess  to  his  house  and  dinner. 

While  the  Seneschal  is  still  stupefied  by  such 
unheard-of  impudence,  the  Princess  arrives,  and 
at  once  takes  everybody  captive  by  her  grace  and 
loveliness.  Jean  de  Paris  is  fascinated,  and  the 
Princess,  who  instantly  recognizes  in  him  her 
future  bridegroom,  is  equally  pleased  by  his  ap- 
pearance, but  resolves  to  profit  and  to  amuse 
herself  by  her  discovery. 

To  the  Seneschal's  unbounded  surprise  she 
graciously  accepts  Jean's  invitation. 

In  the  second  act  the  preparations  for  the 
dinner  of  the  honored  guests  have  been  made. 
Olivier,  the  page,  shows  pretty  Lorezza  the  min- 
uets of  the  ladies  at  court,  and  she  dances  in 
her  simple  country  fashion,  until  Olivier  seizes 
her,  and  they  dance  and  sing  together. 

Jean  de  Paris,  stepping  in,  sings  an  air  in 
praise  of  God,  beauty,  and  chivalry,  and  when 
the  Princess  appears,  he  leads  her  to  dinner,  to 
the  unutterable  horror  of  the  Seneschal.  Din- 
ner, service,  plate,  silver,  all  is  splendid,  and  all 
belongs  to  Jean  de  Paris,  who  sings  a  tender 
minstrel's  song  to  the  Princess.    She  sweetly  an- 

213 


The  Standard   Operaglass 

swers  him,  and  telling  him  that  she  has  already 
chosen  her  knight,  who  is  true,  honest,  and  of 
her  own  rank,  makes  him  stand  on  thorns  for  a 
while,  lest  he  be  too  late,  until  he  perceives 
that  she  only  teases  in  order  to  punish  him  for 
his  own  comedy.  Finally  they  are  enchanted 
with  each  other,  and  when  the  people  come  up, 
the  Prince,  revealing  his  true  name,  presents 
the  Princess  as  his  bride,  bidding  his  suite  ren- 
der homage  to  their  mistress.  The  Seneschal 
humbly  asks  forgiveness,  and  all  unite  in  a 
chorus  in  praise  of  the  beautiful  pair. 


JESSONDA 

Opera  in  three  acts  by  LOUIS  SPOHR 
Text  by  HENRY  GEHE 

Spohr  wrote  this  opera  by  way  of  inaugura- 
tion to  his  charge  as  master  of  the  court  chapel 
at  Cassel,  and  with  it  he  added  to  the  fame 
which  he  had  long  before  established  as  master 
of  the  violin  and  first-rate  composer.  His  music 
is  sublime,  and  sheds  a  wealth  of  glory  on  the 
somewhat  imperfect  text. 

The  story  introduces  us  to  Goa,  on  the  coast  of 
Malabar,  at  the  beginning  of  the  16th  century. 

A  Rajah  has  just  died,  and  is  bewailed  by  his 
people,  and  Jessonda,  his  widow,  who  was  mar- 

214 


Jessonda 

ried  to  the  old  man  against  her  will,  is  doomed 
to  be  burnt  with  him,  according  to  the  conn- 
try's  laws.  Nadori,  a  young  priest  of  the  God 
Brahma,  is  to  announce  her  fate  to  the  beautiful 
young  widow.  But  Nadori  is  not  a  Brahmin 
by  his  own  choice;  he  is  young  and  passionate, 
and  though  it  is  forbidden  to  him  to  look  at 
women,  he  at  once  falls  in  love  with  Jessonda's 
sister  Amazili,  whom  he  meets  when  on  his  sad 
errand.  He  promises  to  help  her  in  saving  her 
beloved  sister  from  a  terrible  death. 

Jessonda  meanwhile  hopes  vainly  for  the  ar- 
rival of  the  Portuguese  General,  Tristan 
d'Acunha,  to  whom  she  pledged  her  faith  long 
ago,  when  a  cruel  fate  separated  her  from  him. 
She  knows  that  the  Portuguese  are  at  this  mo- 
ment besieging  Goa,  which  formerly  belonged 
to  them.  Jessonda  is  accompanied  by  her 
women  through  the  Portuguese  camp,  to  wash 
away  in  the  floods  of  the  Ganges  the  last  traces 
of  earthliness.  She  sacrifices  a  rose  to  her  early 
love. 

Turning  back  into  the  town,  she  is  recog- 
nized by  Tristan,  but,  alas,  a  truce  forbids  him 
to  make  an  assault  on  the  town  in  order  to  de- 
liver his  bride.  Jessonda  is  led  back  in  triumph 
by  the  High-priest  Daudon,  to  die  an  untimely 
death. 

In  the  third  act  Nadori  visits  Tristan  in  se- 
cret, to  bring  the  welcome  news  that  Daudon 

215 


The   Standard   Operaglass 

himself  broke  the  truce,  by  sending  two  spies 
into  the  enemy's  camp  to  burn  their  ships. 
This  act  of  treachery  frees  Tristan  from  his 
oath.  Nadori  conducts  him  and  his  soldiers 
through  subterranean  passages  into  the  tem- 
ple, where  he  arrives  just  in  time  to  save  Jes- 
sonda  from  the  High-priest's  sword.  She  gives 
him  hand  and  heart,  and  Nadori  is  united  to 
her  sister  Amazili. 


JOSEPH  INT  EGYPT 

Opera  in  three  acts  by  ETIENNE  HENRY  MEHUL 
Text  after  ALEXANDER  DUVAL 

This  opera,  which  has  almost  disappeared 
from  the  French  stage,  is  still  esteemed  in  Ger- 
many, and  always  will  be  so,  because,  though 
clad  in  the  simplest  garb,  and  almost  without 
any  external  outfit,  its  music  is  grand,  noble, 
and  classic;  it  equals  the  operas  of  Gluck,  whose 
influence  may  be  traced,  but  it  is  free  from  all 
imitation.  Here  we  have  true  music,  and  the 
deep  strain  of  patriarchal  piety,  so  touching  in 
the  Biblical  recital,  finds  grand  expression. 

Joseph,  the  son  of  Jacob,  who  was  sold  by  his 
brothers,  has  by  his  wisdom  saved  Egypt  from 
threatening  famine;  he  resides  as  governor  in 
Memphis  under  the  name   of   Cleophas.     But 

216 


Joseph  in  Egypt 

though  much  honored  by  the  King  and  all  the 
people,  he  never  ceases  to  long  for  his  old  fa- 
ther, whose  favorite  child  he  was. 

Driven  from  Palestine  by  this  same  famine, 
Jacob's  sons  are  sent  to  Egypt  to  ask  for  food 
and  hospitality.  They  are  tormented  by  pangs 
of  conscience,  which  Simeon  is  hardly  able  to 
conceal,  when  they  are  received  by  the  governor, 
who  at  once  recognized  them.  Seeing  their  sor- 
row and  repentance,  he  pities  them,  and  prom- 
ises to  receive  them  all  hospitably.  He  does  not 
reveal  himself,  but  goes  to  meet  his  youngest 
brother  Benjamin  and  his  blind  father,  whose 
mourning  for  his  lost  son  has  not  been  dimin- 
ished by  the  long  years.  Joseph  induces  his 
father  and  brother  to  partake  in  the  honors 
which  the  people  render  to  him.  The  whole 
family  is  received  in  the  governor's  palace, 
where  Simeon,  consumed  by  grief  and  con- 
science-stricken, at  last  confesses  to  his  father 
the  selling  of  Joseph.  Full  of  horror,  Jacob 
curses  and  disowns  his  ten  sons.  But  Joseph 
intervenes.  Making  himself  known,  he  grants 
full  pardon  and  entreats  his  father  to  do  the 
same. 

The  old  man  yields,  and  together  they  praise 
God's  providence  and  omnipotence. 


317 


The  Standard  Operaglass 
LA  JTTIVE  (THE  JEWESS) 

Grand  Opera  in  five   acts  by  HALEVY 
Text  by  EUGENE  SCRIBE 

This  opera  created  a  great  sensation  when  it 
first  appeared  on  the  stage  of  the  Grand  Opera 
at  Paris  in  the  year  1835,  and  it  has  never  lost 
its  attraction.  It  was  one  of  the  first  grand 
operas  to  which  brilliant  mise  en  scene,  gor- 
geous decorations,  etc.,  added  success. 
'  Halevy's  great  talent  lies  in  orchestration, 
which  is  here  rich  and  effective;  his  style,  half 
French,  half  Italian,  is  full  of  beautiful  effects 
of  a  high  order. 

The  libretto  is  one  of  the  best  which  was  ever 
written  by  the  dextrous  and  fertile  Scribe. 

The  scene  of  action  is  laid  in  Constance,  in 
the  year  1414,  during  the  Council. 

In  the  first  act  the  opening  of  the  Council  is 
celebrated  with  great  pomp. 

The  Catholics,  having  gained  a  victory  over 
the  Hussites,  Huss  is  to  be  burnt,  and  -the  Jews, 
equally  disliked,  are  oppressed  and  put  down 
still  more  than  before.  All  the  shops  are  closed, 
only  Eleazar,  a  rich  Jewish  jeweller,  has  kept 
his  open,  and  is  therefore  about  to  be  impris- 
oned and  put  to  death,  when  Cardinal  de 
Brogni  intervenes,  and   saves  the  Jew  and  his 

tl8 


La  Juive  (The  Jewess) 

daughter  Recha  from  the  people's  fury.  Thb 
Cardinal  has  a  secret  liking  for  Eleazar,  though 
he  once  banished  him  from  Rome.  He  hopes 
to  gain  news  from  him  of  his  daughter,  who 
was  lost  in  early  childhood.  But  Eleazar  hates 
the  Cardinal  bitterly.  When  the  mob  is  dis- 
persed, Prince  Leopold,  the  Imperial  Com- 
mander-in-Chief, approaches  Recha.  Under 
the  assumed  name  of  Samuel  he  has  gained  her 
affections,  and  she  begs  him  to  be  present  at  a 
religious  feast,  which  is  to  take  place  that  even- 
ing at  her  father's  house.  The  act  closes  with 
a  splendid  procession  of  the  Emperor  and  all 
his  dignitaries.  Ruggiero,  the  chief  judge  in 
Constance,  seeing  the  hated  Jew  and  his  daugh- 
ter amongst  the  spectators,  is  about  to  seize 
them  once  more,  when  Prince  Leopold  steps 
between  and  delivers  them,  to  Recha's  great  as- 
tonishment. 

In  the  second  act  we  are  introduced  to  a  great 
assembly  of  Jews,  men  and  women,  assisting  at 
a  religious  ceremony.  Samuel  is  there  with 
them.  The  holy  act  is,  however,  interrupted  by 
the  Emperor's  niece,  Princess  Eudora,  who 
comes  to  purchase  a  golden  chain,  which  once 
belonged  to  the  Emperor  Constantin,  and  which 
she  destines  for  her  bridegroom,  Prince  Leo- 
pold. Eleazar  is  to  bring  it  himself  on  the  fol- 
lowing day.  Samuel,  overhearing  this,  is  full  of 
trouble.     "When  the  assembly  is  broken  up  and 

219 


The  Standard   Operaglass 

all  have  gone,  he  returns  once  more  to  Recha, 
and  finding  her  alone,  confesses  that  he  is  a 
Christian.  Love  prevails  over  Recha's  filial 
devotion,  and  she  consents  to  fly  with  her  lover, 
but  they  are  surprised  by  Eleazar.  Hearing  of 
Samuel's  falseness,  he  first  swears  vengeance, 
but,  mollified  by  his  daughter's  entreaties,  he 
only  bids  him  marry  Recha.  Samuel  refuses, 
and  has  to  leave,  the  father  cursing  him,  Recha 
bewailing  her  lover's  falseness. 

In  the  third  act  we  assist  at  the  Imperial  ban- 
quet. Eleazar  brings  the  chain,  and  is  accom- 
panied by  Recha,  who  at  once  recognizes  in 
Eudora's  bridegroom  her  lover,  Samuel.  She 
denounces  the  traitor,  accusing  him  of  living  in 
unlawful  wedlock  with  a  Jewess,  a  crime  which 
is  punishable  by  death. 

Leopold  (alias  Samuel)  is  outlawed,  the  Car- 
dinal Brogni  pronounces  the  anathema  upon  all 
three,  and  they  are  put  into  prison. 

In  the  fourth  act  Eudora  visits  Recha  in 
prison,  and  by  her  prayers  not  only  overcomes 
Recha' s  hate,  but  persuades  her  to  save  Leopold 
by  declaring  him  innocent.  Recha,  in  her 
noblemindedness,  pardons  Leopold  and  Eudora, 
and  resolves  to  die  alone. 

Meanwhile  the  Cardinal  has  an  interview  with 
Eleazar,  who  tells  him  that  he  knows  the  Jew 
who  once  saved  the  Cardinal's  little  daughter 
from  the  flames.     Brogni  vainly  entreats  him 

220 


Junker  Heinz  (Sir  Harry) 

to  reveal  the  name.  He  promises  to  save 
Reoha,  should  Eleazar  be  willing  to  abjure  his 
faith,  but  the  latter  remains  firm,  prepared  to 
die. 

In  the  fifth  act  we  hear  the  clamors  of  the 
people,  who  furiously  demand  the  Jew's  death. 

Ruggiero  announces  to  father  and  daughter 
the  verdict  of  death  by  fire.  Leopold  is  set  free 
through  Recha's  testimony.  When  in  view  of 
the  funeral  pile,  Eleazar  asks  Recha  if  she 
would  prefer  to  live  in  joy  and  splendor  and  to 
accept  the  Christian  faith,  but  she  firmly  an- 
swers in  the  negative.  Then  she  is  led  on  to 
death,  and  she  is  just  plunged  into  the  glowing 
furnace  when  Eleazar,  pointing  to  her,  in- 
forms the  Cardinal  that  the  poor  victim  is  his 
long-lost  daughter;  then  Eleazar  follows  Recha 
into  the  flames,  while  Brogni  falls  back  sense- 
less. 


JUNKER  HEINZ  (SIE  HARRY) 

Opera  in  three  acts  by   KARL  VON  PERPALL 
Text  after  Hertz's  poem,  "  Henri  of  Suabia," 

by  FRANZ  GRANDOUR 

This  opera,  composed  recently  by  the  Super- 
intendent of  the  Royal  Opera  in  Munich,  has 
made  its  way  to  the  most  renowned  stages  in 

221 


The  Standard   Operaglass 

Germany,  which  proves  that  the  composition  is 
not  a  common  one. 

Indeed,  though  it  is  not  composed  in  the 
large  style  to  which  we  are  now  accustomed 
from  hearing  so  much  of  Wagner,  the  music  is 
interesting,  particularly  so  because  it  is  entirely 
original  and  free  from  reminiscences.  There 
are  some  little  masterpieces  in  it  which  deserve 
to  become  popular  on  account  of  their  fresh- 
ness; wit  and  humor,  however,  are  not  the  com- 
poser's "forte,"  and  so  the  first  act,  in  which 
the  vagabonds  present  themselves,  is  by  far  the 
least  interesting. 

The  libretto  is  very  well  done;  it  has  made 
free  use  of  Hertz's  pretty  poem. 

The  scene  is  laid  in  the  beginning  of  the  elev- 
enth century.  The  first  act  lands  us  near  Ess- 
lingen,  in  Suabia,  the  two  following  near  Speier. 

Three  swindlers  concoct  a  plot  to  acquire 
wealth  by  robbing  the  Emperor's  daughter. 
To  this  end,  one  of  them,  Marudas,  a  former 
clerk,  has  forged  a  document,  in  which  the 
Emperor  of  Byzantium  asks  for  the  hand  of 
Agnes,  daughter  of  Conrad,  Emperor  of  Ger- 
many, who,  just  approaching  with  his  wife 
Gisela,  is  received  with  acclamation  by  the  citi- 
zens of  Esslingen.  Soon  after,  the  three  vaga- 
bonds appear  in  decent  clothes,  crying  for  help; 
they  pretend  to  have  been  attacked  and  robbed 
by  brigands.     Boccanera,  the  most  insolent  of 

222 


Junker  Heinz  (Sir  Harry) 

them,  wears  a  bloody  bandage  round  his  head. 
The  document  is  presented  to  the  Emperor, 
who  turns  gladly  to  his  wife  and  tells  her  of  the 
flattering  offer  of  the  Greek  Prince.  After  he 
has  ordered  that  the  ambassador  be  taken  good 
care  of,  the  Emperor  is  left  alone  with  his  wife. 
She  tenderly  asks  him  why  he  always  seems  so 
sorrowful  and  gloomy,  and  after  a  first  evasive 
answer,  he  confides  to  his  faithful  wife  what 
oppresses  him. 

Twenty  years  ago  he  gave  orders  to  kill  a  little 
infant,  the  son  of  his  deadliest  enemy,  Count  of 
Calw,  his  astronomer  Crusius  having  prophesied 
that  this  child  would  wed  the  Emperor's  daugh- 
ter and  reign  after  him.  The  remembrance  of 
this  cruelty  now  torments  him,  but  Gisela  con- 
soles her  husband,  hoping  and  praying  that  God 
will  pardon  the  repentant  sinner.  During  this 
intercourse,  a  young  man  comes  up,  entreating 
the  Emperor  to  read  a  document  which  was 
given  to  the  youth  by  his  dying  uncle  and 
destined  for  the  Emperor.  As  Conrad  reads  it, 
he  learns  that  this  youth  is  the  child  he  would 
have  had  killed  years  ago,  and  who  was  carried 
to  the  forester  house  and  brought  up  there. 
The  Emperor  and  his  wife  thank  Heaven  that 
they  have  been  spared  so  dreadful  a  sin,  but 
Conrad,  afraid  of  the  prophecy,  determines  to 
send  the  young  man,  who  is  called  Junker 
Heinz,  away.     He  gives  him  a  document,  in 

223 


The  Standard   Operaglass 

which  he  orders  Count  Gerold,  governor  of 
Speier,  to  give  his  daughter  to  the  three  am- 
bassadors of  the  Emperor  of  Byzantium. 

In  the   second   act  we  see  Agnes,  the   Em- 
peror's daughter,  working  and  singing  with  her 
damsels.  •    She  is  well  guarded  by  old  Hiltrudis, 
but  the  worthy  lady  is  obliged  to  leave  for  some 
days,    and    departs    with    many    exhortations. 
Hardly  has  she  gone  than  all  the  working  ma- 
terial disappears,  and  the  maidens  begin  to  sing 
and  frolic.     The  appearance  of  Junker  Heinz 
frightens  them  away.     Heinz,  who  has  ridden 
long,  thinks  to  take  a  little  rest,  now  that  he 
sees   the   towers   of    Speier    before    him.      He 
stretches  himself  on  a  mossy  bank  and  is  soon 
asleep.     Shortly  afterwards,  the  Princess  Agnes 
peeps  about  with  her  companion  Bertha.     She 
is  highly  pleased  with  the   appearance  of    the 
strange  hunter,  and  seeing  him  asleep,  she  gazes 
at  him,  until  she  insensibly  falls  in  love  with 
him.       Observing    the    document    which    the 
stranger  has  in  his  keeping,  she  takes  and  reads 
it,  and,  disgusted  with  its  contents,  throws  it 
into    the   fountain,    quickly   fetching    another 
parchment  which  was  once  given  to  her  by  her 
father,  and  which  contains  both  permission  to 
wish  for  something  and  her  father's  promise  to 
grant  her  wish. 

When  Heinz  awakes,  and  finds  the  loveliest 
of  the  maidens  beside  him,  he  falls  as  deeply  in 

224 


Junker  Heinz   (Sir  Harry) 

love  as  the  }roung  lady,  but  their  tender  inter- 
view is  soon  interrupted  by  the  blowing  of  hunt- 
ers' horns.* 

In  the  third  act  Count  Gerold,  who  has  come 
with  a  suite  to  accompany  the  Princess  on  a 
hunt,  is  presented  with  the  Emperor's  docu- 
ment by  Heinz,  who  cannot  read,  and  who  is 
wholly  ignorant  of  the  change  which  Agnes  has 
made.  Though  greatly  astonished  at  the  Em- 
peror's command  to  wed  Agnes  to  the  bringer 
of  his  letter,  Count  Gerold  is  accustomed  to 
obey,  and  Heinz,  who  first  refuses  compliance 
with  the  strange  command,  at  once  acquiesces 
when  he  sees  that  his  lady-love  and  the  Princess 
are  one  and  the  same  person.  About  to  go  to 
church,  they  are  detained  by  the  Emperor,  Avho 
scornfully  charges  Heinz  with  fraud. 

But  when  Count  Gerold  presents  the  docu- 
ment, his  scorn  turns  on  Agnes  and  he  orders 
her  to  a  convent.  Heinz  fervently  entreats 
the  Emperor  to  pardon  Agnes,  and  takes  a 
tender  farewell  of  her.  On  the  point  of  depart- 
ing for  ever,  he  sees  the  three  ambassadors, 
whom  he  recognizes  and  loudly  denounces  as 
robbers  and  swindlers.  Boccanera  is  obliged  to 
own  that  his  wound  came  from  Junker  Heinz, 
who  caught  him  stealing  sheep.  They  are  led 
to  prison,  while  the  Emperor,  grateful  to  Heinz 
for  his  daughter's  delivery  from  robbers,  gives 
her  to  him  and  makes  Heinz  Duke  of  Suabia, 
15  22$ 


The  Standard   Operaglass 

persuaded  that  it  is  useless  to  fight  against  that 
which  the  stars  have  prophesied. 


A    KING    AGAINST    HIS    WILL 

(DER  KO-NIG  WIDER  WILLEN) 

Comic  Opera  in  three  acts  by  EMANUEL  CHABRIER 

Text  after  a  comedy  written  by  ANCELOT 
from  EMILE  DE  NAJAC  and  PAUL  BUKANI 

The  composer  has  recently  become  known  in 
Germany  by  his  opera  Gwendoline,  performed 
at  Leipsic  a  short  time  ago.  His  latest  opera, 
"  A  King  Against  His  Will,"  was  represented  on 
the  Royal  Opera  in  Dresden,  April  26,  1890, 
and  through  its  wit,  grace,  and  originality  won 
great  applause.  Indeed,  though  not  quite  free 
from  "  raftinement,"  its  melodies  are  exquis- 
itely interesting  and  lovely.  Minka's  Bohemian 
song,  her  duet  with  De  Nangis,  her  lover,  as 
well  as  the  duet  between  the  King  and  Alexina, 
are  masterpieces,  and  the  national  coloring  in 
the  song  of  the  Polish  body-guard  is  character- 
istic enough. 

The  libretto  is  most  amusing,  though  the 
plot  is  complicated.  The  scene  is  laid  at  Cracow 
in  the  year  1574.  Its  subject  is  derived  from  a 
historical    fact.     Henry    de    Valois    has    been 

226 


A   King  Against   His  Will 

elected  King  of  Poland,  through  the  machina- 
tions of  his  ambitious  mother,  Caterina  de' 
Medici,  to  whom  it  has  been  prophesied  that 
all  her  sons  should  be  crowned. 

The  gay  Frenchman  most  reluctantly  accepts 
the  honor,  but  the  delight  of  his  new  Polish 
subjects  at  having  him  is  not  greater  than  his 
own  enchantment  with  his  new  kingdom. 

The  first  act  shows  the  new  King  surrounded 
by  French  noblemen,  gay  and  thoughtless  like 
himself,  but  watching  all  his  movements  by 
order  of  his  mother,  who  fears  his  escape.  By 
chance  the  King  hears  from  a  young  bondwom- 
an, Minka,  who  loves  De  Nangis,  his  friend,  and 
wishes  to  save  him  a  surprise,  that  a  plot  had 
been  formed  by  the  Polish  noblemen,  who  do  not 
yet  know  him  personally,  and  he  at  once  decides 
to  join  the  conspiracy  against  his  own  person. 
Knowing  his  secretary,  Fritelli,  to  be  one  of  the 
conspirators,  he  declares  that  he  is  acquainted 
with  their  proceedings  and  threatens  him  with 
death  should  he  not  silently  submjt  to  all  his 
orders.  The  frightened  Italian  promises  to  lead 
him  into  the  house  of  Lasky,  the  principal  con- 
spirator, where  he  intends  to  appear  as  De 
Nangis.  But  before  this,  in  order  to  prevent 
discovery,  he  assembles  his  guard  and  suite,  and 
in  their  presence  accuses  his  favorite  De  Nangis 
with  treachery,  and  has  him  safely  locked  up  in 
apparent  deep  disgrace. 

227 


The  Standard   Operaglass 

The    second,    act    opens  with  a  festival    at 
Lasky's,  under  cover  of  which  the  King  is  to  be 
arrested  and  sent  over  the  frontier.     Now  the 
King,  being  a  total  stranger  to  the  whole  as- 
sembly, excepting  Fritelli,  presents  himself  as 
De  Nangis  and  swears  to  dethrone  his  fickle 
friend,  the  King,  this  very  night.     But  mean- 
while De  Nangis,  who,  warned  by  Minka's  song, 
has  escaped  from   his  confinement  through  the 
window,  comes  up,  and  is  at  once  presented  by 
the  pretended  De  Nangis  as  King  Henry.     The 
true  De  Nangis,  complying  with  the  jest,  at  once 
issues  his  Kingly  orders,  threatening  to  punish 
his  antagonists  and  proclaiming  his  intention  to 
make  the  frightened  Minka  his  Queen.     He  is 
again  confined  by  the  conspirators,  who,  finding 
him  so  dangerous,  resolve  to  kill  him.     This  is 
entirely  against  King  Henry's  will,  and  he  at 
once  revokes  his  oath,  proclaiming  himself  to 
be  the  true  King,  and  offering  himself,  if  need 
shall  be,  as   their  victim.     But  he  is  not  be- 
lieved;    the.   only    person    who     knows    him, 
Fritelli,  disowns  him,  and  Alexina,  the  secre- 
tary's wife,  a  former  sweetheart  of  the  King  in 
Venice,  to  whom  he  has  just  made  love  again 
under  his  assumed  name,  declares  that  he  is 
De  Nangis.     Henry  is  even  appointed  by  lot  to 
inflict  the    death-stroke    on    the    unfortunate 
King.     Determined   to  destroy  himself  rather 
than  let  his  friend  suffer,  he  opens  the  door  to 

?38 


A   King  Against   His  Will 

De  Xangis's  prison,  but  the  bird  has  again 
flown.  Minka,  though  despairing  of  ever  be- 
longing to  one  so  high-born,  has  found  means  to 
liberate  him,  and  is  now  ready  to  suffer  for  her 
interference.  She  is,  however,  protected  by 
Henry,  who  once  more  swears  to  force  the  King 
from  the  country. 

The  third  act  takes  place  in  the  environs  of 
Crakow,  where  preparations  are  made  for  the 
King's  entry.  Ko  one  knows  who  is  to  be 
crowned,  Henry  de  Valois  or  the  Archduke  of 
Austria,  the  pretender  supported  by  the  Polish 
nobles,  but  Fritelli,  coming  up,  assures  the  inn- 
keeper that  it  is  to  be  the  Archduke.  Mean- 
while the  King  enters  in  hot  haste,  asking  for 
horses,  in  order  to  take  himself  away  as  quickly 
as  possible.  Unfortunately,  there  is  only  one 
horse  left  and  no  driver,  but  the  King  orders 
this  to  be  got  ready,  and  declares  that  he  will 
drive  himself.  During  his  absence  Alexina  and 
Minka,  who  have  proceeded  to  the  spot,  are  full 
of  pity  for  the  unfortunate  King,  as  wTell  as  for 
his  friend  De  Nangis.  Alexina  resolves  to  put 
on  servant's  clothes,  in  order  to  save  the  fugi- 
tive, and  to  drive  herself.  Of  course  Henry  is 
enchanted  when  recognizing  his  fair  driver,  and 
both  set  about  to  depart. 

Minka,  left  alone,  bewails  her  fate  and  wants 
to  stab  herself,  whereupon  De  Nangis  suddenly 
appears  in  search  of  the  King.     At  the   sight 

229 


The  Standard   Operaglass 

of  him,  Minka  quickly  dries  her  tears,  being 
assured  that  her  lover  is  true  to  her.  Fritelli, 
however,  who  at  first  had  rejoiced  to  see  his 
wife's  admirer  depart,  is  greatly  dismayed  at 
hearing  that  his  fair  wife  was  the  servant- 
driver.  He  madly  rushes  after  them  to  arrest 
the  fugitives.  But  the  faithful  guard  is  already 
on  the  King's  track,  and  together  with  his  Cav- 
aliers, brings  them  back  in  triumph. 

Finding  that,  whether  he  will  or  no,  he  must 
abide  by  his  lot,  and  hearing  further  that  the 
Archduke  has  renounced  his  pretensions  to 
the  crown  of  Poland,  the  King  at  last  submits. 
He  unites  the  faithful  lovers  De  Nangis  and 
Minka,  sends  Fritelli  as  Ambassador  to  Venice, 
accompanied  by  his  wife  Alexina,  and  all  hail 
Henry  de  Valois  as  King  of  Poland. 


LOHENGKIN 

Romantic  Opera  in  three  acts 
by  RICHARD  WAGNER 

This  is  the  most  popular  of  all  Wagner's 
operas.  No  need  to  say  more  about  its  music, 
which  is  so  generally  known  and  admired  that 
every  child  in  Germany  knows  the  graceful  aria 
where  Lohengrin  dismisses  the  swan,  the  superb 

bridal  chorus,  etc. 

230 


Lohengrin 

Wagner  again  took  his  material  from  the 
old  legend  which  tells  us  of  the  mystical  knight 
Lohengrin  (Veron  of  Percival),  Keeper  of  the 
"Holy  Grail." 

The  scene  is  laid  near  Antwerp,  where 
"  Heinrich  der  Yogler,"  King  of  Germany, 
is  just  levying  troops  amongst  his  vassals  of 
Brabant  to  repulse  the  Hungarian  invaders. 
The  King  finds  the  people  in  a  state  of  great 
commotion,  for  Count  Frederick  Telramund 
accuses  Elsa  of  Brabant  of  having  killed  her 
young  brother  Godfrey,  heir  to  the  Duke  of 
Brabant,  who  died  a  short  time  ago,  leaving  his 
children  to  the  care  of  Telramund.  Elsa  was 
to  be  Telramund's  wife,  but  he  wedded  Ortrud 
of  Friesland,  and  now  claims  the  deserted  Duchy 
of  Brabant. 

As  Elsa  declares  her  innocence,  not  knowing 
what  has  become  of  her  brother,  who  was  taken 
from  her  during  her  sleep,  the  King  resolves  to 
decide  by  a  tourney  in  which  the  whole  matter 
shall  be  left  to  the  judgment  of  God.  Tel- 
ramund, sure  of  his  rights,  is  willing  to  fight 
with  any  champion  who  may  defend  Elsa. 
All  the  noblemen  of  Brabant  refuse  to  do  so, 
and  even  the  King,  though  struck  by  Elsa's 
innocent  appearance,  does  not  want  to  oppose 
his  valiant  and  trustworthy  warrior. 

Elsa  alone  is  calm;  she  trusts  in  the  help  of 
the  heavenly  knight,  who  has  appeared  to  her 

231 


The  Standard   Operaglass 

in  a  dream,  and  publicly  declares  her  intention 
of  offering  to  her  defender  the  crown  and  her 
hand.  While  she  prays,  there  arrives  a  knight 
in  silver  armor;  a  swan  draws  his  boat.  He 
lands;  Elsa  recognizes  the  knight  of  her  dream, 
and  he  at  once  offers  to  fight  for  the  accused 
maiden  on  two  conditions:  first,  that  she  shall 
become  his  wife,  and  second,  that  she  never 
will  ask  for  his  name  and  his  descent. 

Elsa  solemnly  promises,  and  the  combat  be- 
gins. The  strange  knight  is  victorious,  and 
Telramund,  whose  life  the  stranger  spares,  is, 
with  his  wife  Ortrud,  outlawed. 

The  latter  is  a  sorceress;  she  has  deceived 
her  husband,  who  really  believes  in  the  murder 
of  Godfrey,  while  as  a  matter  of  fact  she  has 
abducted  the  child.  In  the  second  act  we  see 
her  at  the  door  of  the  Ducal  palace,  where 
preparations  for  the  wedding  are  already  being 
made.  She  plans  vengeance.  Her  husband, 
full  of  remorse,  and  feeling  that  his  wife  has 
led  him  on  to  a  shameful  deed,  curses  her  as 
the  cause  of  his  dishonor.  She  derides  him, 
and  rouses  his  pride  by  calling  him  a  coward. 
Then  she  pacifies  him  with  the  assurance  that 
she  will  induce  Elsa  to  break  her  promise  and 
ask  for  the  name  of  her  husband,  being  sure 
that  then  all  the  ^ower  of  this  mysterious  cham- 
pion will  vanish. 

When  Elsa  steps  en  the  balcony  to  confide 

232 


Lohengrin 

her  happiness  to  the  stars,  she  hears  her  name 
spoken  in  accents  so  sad  that  her  tender  heart 
is  moved.  Ortrud  bewails  her  lot,  invoking 
Elsa's  pity.  The  Princess  opens  her  door, 
urging  the  false  woman  to  share  her  palace 
and  her  fortune.  Ortrud  at  once  tries  to  sow 
distrust  in  Elsa's  innocent  heart. 

As  the  morning  dawns,  a  rich  procession  of 
men  and  women  throng  to  the  Munster,  where 
Elsa  is  to  be  united  to  her  protector.  Tel- 
ramund  tries  vainly  to  accuse  the  stranger; 
he  is  pushed  back,  and  silenced.  As  Elsa  is 
about  to  enter  the  church,  Ortrud  steps  for- 
ward, claiming  the  right  of  precedence.  Elsa, 
frightened,  repents,  too  late,  having  protected 
her.  Ortrud  upbraids  her  with  not  even  having 
asked  her  husband's  name  and  descent.  All 
are  taken  aback,  but  Elsa  defends  her  husband, 
winning  everybody  by  her  quiet  dignity. 

She  turns  to  Lohengrin  for  protection,  but, 
alas !  the  venom  rankles  in  her  heart. 

When  they  are  all  returning  from  church, 
Telramund  once  more  steps  forth,  accusing 
Lohengrin,  and  demanding  from  the  King  to 
know  the  stranger's  name.  Lohengrin  declares 
that  his  name  may  not  be  told  excepting  his 
wife  asks.  Elsa  is  in  great  trouble,  but  once 
more  her  love  conquers,  and  she  does  not  put 
the  fatal  question. 

But  in  the  third  act,  when  the  two  lovers 

233 


The  Standard   Operaglass 

are  alone,   she  knows  no  rest.     Although  her 
husband  asks  her  to  trust  him,  she  fears  that 
he  may  leave  her  as  mysteriously  as  he  came, 
and   at   last    she   cannot   refraiu   from    asking 
the  luckless  question.      From  this  moment  all 
happiness   is   lost   to   her.      Telramund   enters 
to  slay  his   enemy,  but  Lohengrin,  taking  his 
sword,  kills   him    with   one   stroke.     Then   he 
leads  Elsa   before    the   King,  and    loudly   an- 
nounces his   secret.      He    tells   the   astounded 
hearers   that   he    is   the    Keeper   of    the   Holy 
Grail.     Sacred  and  invulnerable  to  the  villain, 
a  defender  of  right  and   virtue,   he  may  stay 
with  mankind  as  long  as  his  name  is  unknown. 
But  now  he  is  obliged  to  reveal  it.     He  is  Lohen- 
grin, son  of  Percival,  King  of  the  Grail,  and 
is  now  compelled  to  leave  his  wife  and  return 
to  his  home.     The  swan  appears,  from  whose 
neck  Lohengrin  takes  a  golden  ring,  giving  it 
to  Elsa,  together  with  his  sword  and  golden  horn. 
Just  as  Lohengrin  is  about  to  depart  Ortrud 
appears,  triumphantly  declaring  that  it  was  she 
who  changed  young  Godfrey  into  a  swan,  and 
that  Lohengrin  would  have  freed  him,  too,  had 
Elsa  not  mistrusted  her  husband.     Lohengrin, 
hearing  this,  sends  a  fervent  prayer  to  Heaven, 
and  loosening  the  swan's  golden  chain,  the  ani- 
mal dips  under  water,  and  in  his  stead  rises  God- 
frey, the  lawful  heir  of  Brabant.     A  white  dove 
descends  to  draw  the  boat  in  which  Lohengrin 

234 


Lorle 

glides  away,  and  Elsa   falls    senseless   in  her 
brother's  arms. 


LOELE 

Opera  in  three  acts  by  ALBAN  FOERSTER 
Text  by  HANS  HEINRICH  SCHEFSKY 

With  this  opera  its  composer  has  made  a  lucky- 
hit;  it  stands  far  higher  than  the  "  Maidens  of 
Schilda,"  by  dint  of  the  charming  subject, 
founded  on  Auerbach's  wonderful  village  story, 
"Die  Frau  Professorin.*'  This  romance  is  so 
universally  known  and  admired  all  over  Ger- 
many that  it  ensures  the  success  of  the  opera. 
The  music  is  exceedingly  well  adapted  to  the 
subject;  its  best  parts  are  the  "Lieder" 
(songs),  which  are  often  exquisitely  sweet,  har- 
monious, and  refined.  They  realize  Foerster's 
prominent  strength,  and  nowhere  could  they  be 
better  placed  than  in  this  sweet  and  touching 
story. 

Though  the  libretto  is  not  very  carefully  writ- 
ten, it  is  better  than  the  average  performances 
of  this  kind,  and  with  poetical  intuition  Schef- 
sky  has  refrained  from  the  temptation  to  make 
it  turn  out  well,  as  Charlotte  Birch- Pfeiffer  has 
done  in  her  play  of  Lorle,  which  is  a  weak 
counterpart  of  Auerbach's  village  tragedy. 

235 


The  Standard  Opcraglass 

The  first  representation  of  the  opera  took 
place  in  Dresden  on  June  18,  1891  ;  it  won  the 
success  it  truly  deserves. 

The  first  act,  which  is  laid  in  a  village  of  the 
Black  Forest,  represents  the  square  before  the 
house  of  the  wealthy  Lindenhost.  He  wishes 
his  only  daugther  Lorle  to  marry  a  well-to-do 
young  peasant  named  Balder,  who  loved  her 
from  her  childhood.  But  Lorle  rejects  him, 
having  lost  her  heart  to  a  painter  who  had 
stayed  in  her  father's  house,  and  who  had  taken 
her  as  a  model  for  a  picture  of  the  Madonna 
which  adorns  the  altar  of  the  village  church. 
Lorle' s  friend  Barbele  guesses  her  secret,  and 
advises  her  to  consult  fate  by  wreathing  secretly 
a  garland  of  bluebells  and  reed  grass.  This 
wreath  she  is  to  throw  into  the  branches  of  an 
oak,  calling  aloud  the  name  of  her  lover.  If 
the  garland  is  stopped  by  the  boughs,  her 
wishes  are  fulfilled;  if  it  falls  back  into  the 
girl's  hands,  she  must  give  up  hope  for  the 
year. 

Both  maidens  resolve  to  try  their  fate  on  the 
very  same  night,  which  happens  to  be  St. 
John's  (midsummer  night),  the  true  night  for 
the  working  of  the  charm. 

Meanwhile  the  Hussars  arrive  to  carry  away 
the  newly  enlisted  peasants.  The  sergeant  will- 
ingly permits  a  last  dance,  and  all  join  in  it 
heartily  ;  but  when  the  hour  of  parting  comes, 

236 


Lorle 

the  frightened  Balder  hides  in  an  empty  barrel. 
Unfortunately,  his  officer  happens  to  choose  this 
one  barrel  for  himself,  deeming  it  filled  with 
wine.  "When  it  is  laid  on  the  car,  the  missing 
recruit  is  promptly  apprehended. 

The  scene  changes  now  to  one  of  sylvan  soli- 
tude, through  which  two  wanderers  are  saunter- 
ing. They  are  artists,  and  one  of  them,  Bern- 
hardt, is  attracted  to  the  spot  by  his  longing  for 
the  sweet  village  flower,  whom  he  has  not  for- 
gotten in  the  whirl  of  the  great  world.  Al- 
ready he  sees  the  windows  of  his  sweetheart 
glimmer  through  the  trees,  when  suddenly  light 
footsteps  cause  the  friends  to  hide  behind  a 
large  oak  tree.  The  two  maidens  who  appear 
are  Lorle  and  Biirbele.  The  former  prays  fer- 
vently, then  throwing  her  garland,  she  shyly 
calls  her  lover's  name,  Eeinhardt.  The  latter 
stepping  from  behind  the  tree  skilfully  catches 
the  wreath — and  the  maiden.  This  moment 
decides  their  fates;  Reinhardt  passionately  de- 
clares his  love,  while  Walter  amuses  himself 
with  pretty  Biirbele,  whose  nai've  coquetry 
pleases  him  mightily. 

The  following  act  introduces  us  to  Rein- 
hardt's  studio  in  a  German  residence.  A  year 
has  gone  by  since  he  wooed  and  won  his  bride; 
alas!  he  is  already  tired  of  her.  The  siren 
Maria,  Countess  of  Matran,  with  whom  he  was 
enamored  years  ago,  and  whose  portrait  he  has 

237 


The  Standard  Operaglass 

just  finished,  has   again   completely  bewitched 
him. 

In  vain  Lorle  adorns  herself  in  her  bridal 
attire  at  the  anniversary  of  their  wedding;  the 
infatuated  husband  has  no  eye  for  her  loveli- 
ness, and  roughly  pushes  her  from  him.  Left 
alone,  the  poor  young  wife  gives  vent  to  her 
feelings  in  an  exquisite  sigh  of  longing  for  her 
native  country:  "  Hatt'  ich  verlassen  nie  dich, 
meine  Haiden  "  ("  Would  I  had  never  left  thee, 
0  my  heath  "). 

A  visit  from  her  dear  Barbele  somewhat  con- 
soles her,  and  delights  Walter,  the  faithful 
house-friend.  Balder,  Lorle's  old  playmate, 
still  recruit,  also  comes  iu  and  gladdens  her  by 
a  bunch  of  heath-flowers.  But  hardly  have 
they  enjoyed  their  meeting  when  the  Prince  is 
announced,  who  desires  to  have  a  look  at  the 
Countess's  portrait.  The  rustic  pair  is  hastily 
hidden  behind  the  easel,  and  Lorle  receives  his 
Koyal  Highness  with  artless  gracefulness,  pre- 
senting him  with  the  flowers  she  has  just  re- 
ceived. Her  husband  is  on  thorns,  but  the 
Prince  affably  accepts  the  gift,  and  invites  her  to 
a  festival  which  is  to  take  place  in  the  evening. 
Then  he  looks  at  the  picture,  expressing  some 
disappointment  about  its  execution,  which  so 
vexes  the  sensitive  artist  that  he  roughly  pushes 
the  picture  from  the  easel,  thereby  revealing 
the  two  innocents  behind  it.     Great  is  his  wrath 

238 


Lorie 

at  his  wife's  imprudence,  while  the  Prince  exits 
with  the  Countess,  unable  to  repress  a  smile  at 
the  unexpected  event. 

There  now  ensues  a  very  piquant  musical 
intermezzo,  well  making  np  for  the  missing 
overture.  The  rising  curtain  reveals  a  brilliant 
court  festival.  Reinhardt  has  chosen  the  Count- 
ess for  his  shepherdess,  while  Lorle,  standing 
a  moment  alone  and  heartsore,  is  suddenly 
chosen  by  the  Prince  as  Queen  of  the  fete. 
After  a  charming  gavotte,  the  guests  disperse  in 
the  various  rooms.  Only  the  Countess  stays  be- 
hind with  Reinhardt,  and  so  enthralls  him  that 
he  forgets  honor  and  wife,  and  falls  at  her  feet, 
stammering  words  of  love  and  passion.  Unfor- 
tunately, Lorle  witnesses  the  scene;  she  staggers 
forward,  charging  her  husband  with  treason. 
The  guests  rush  to  her  aid,  but  this  last  stroke 
is  too  much  for  the  poor  young  heart;  she  sinks 
down  in  a  dead  faint. 

The  closing  act  takes  place  a  year  later. 
Walter  and  Barbele  are  married,  and  only 
Lorle's  sad  fate  mars  their  happiness.  Lorle 
has  returned  to  her  father's  home  broken- 
hearted, and  grief  for  his  only  child  has  changed 
the  old  man  sadly. 

Again  it  is  midsummer  night,  and  the  father 
is  directing  his  tottering  steps  to  the  old  oak, 
when  he  is  arrested  by  a  solitary  wanderer,  whom 
sorrow  and  remorse  have  also  aged  considerably. 

239 


The  Standard  Operaglass 

"With  disgust  and  loathing  he  recognizes  his 
child's  faithless  husband,  who  comes  to  crave 
pardon  from  the  wife  he  so  deeply  wronged. 
Alas !  he  only  comes  to  see  her  die. 

Lorle's  feeble  steps  are  also  guided  by  her 
friends  to  the  old  oak,  her  favorite  resting- 
place.  There  she  finds  her  last  wish  granted; 
it  is  to  see  Eeinhardt  once  more  before  she  dies, 
and  to  pardon  him.  The  luckless  husband 
rushes  to  her  feet,  and  tries  vainly  to  restrain 
the  fast-ebbing  life.  With  the  grateful  sigh, 
"  He  loves  me,"  she  sinks  dead  into  his  arms, 
while  a  sweet  and  solemn  choir  in  praise  of  St. 
John's  night  concludes  the  tragedy. 


LOYE'S  BATTLE 
(DEE  LIEBESKAMPF) 

Opera  in  two  acts 
Music  and  Text  by  ERICK  MEYER-HELMUND 

This  young  composer,  whose  first  opera  was 
brought  on  the  stage  in  Dresden  in  the  spring 
of  1892,  has  been  known  for  several  years  to 
the  musical  world  by  his  most  charming  and 
effective  songs.  That  he  has  talent,  even  gen- 
ius, is  a  fact  which  this  opera  again  demon- 
strates,   but   the   "making"   is   somewhat   too 

240 


Love's  Battle 

easy,  not  to  say  negligent,  and  it  reminds  us  of 
Mascagni,  whose  laurels  are  an  inducement  to 
all  our  young  geniuses  to  "  go  and  do  likewise." 
Even  the  plot,  with  its  Corsican  scenery,  has  a 
strong  resemblance  to  "  Cavalleria  Kusticana." 
Its  brevity — both  acts  last  but  fifty  minutes — is  a 
decided  advantage,  for  the  easy-flowing  melodies, 
which  come  quite  naturally  to  the  composer, 
cannot  fail  to  attract  the  public  without  being 
able  to  tire  them.  One  of  the  most  delightful, 
a  really  exquisite  piece  of  music,  is  the  duet  be- 
tween Giulietta  and  Giovanni. 

The  text,  which  is  likewise  written  by  the 
musician  himself,  has  a  very  simple  plot. 

Pietro,  a  sailor,  returns  from  a  long  voyage 
only  to  find  his  promised  bride,  Maritana,  the 
wife  of  another. 

After  having  waited  three  years  for  his  re- 
turn, she  fell  into  dire  distress,  which  was 
augmented  by  the  report  that  Pietro's  ship 
"Elena"  had  been  wrecked  and  her  lover 
drowned.  An  innkeeper,  Arrigo,  came  to  her 
aid,  and  not  only  rescued  her  from  misery,  but 
also  adopted  her  child,  the  offspring  of  Mari- 
tana's  love  for  Pietro,  after  which  she  promised 
him  her  hand  in  gratitude. 

Not  long  after  their  marriage  the  "Elena" 
returns  with  Pietro,  who  never  doubts  his  sweet- 
heart's constancy.  Great  is  his  dismay  when  he 
hears  from  Arrigo  and  his  father  that  Maritana 
16  241 


The  Standard  Operaglass 

is  lost  to  him.  Pietro  endeavors  to  persuade 
Maritana  to  fly  with  him,  but  the  young  wife, 
although  conscious  of  her  affections  for  him, 
denies  that  she  ever  loved  him. 

The  second,  act  begins  Avith  the  wedding  festi- 
val of  Giovanni  and  Giulietta,  Arrigo's  niece. 
After  the  charming  love  duet  above  mentioned, 
Pietro  once  more  offers  his  love  to  Maritana, 
but  in  vain. 

In  the  midst  of  the  turmoil  of  frolic,  in  which 
Pietro  seems  one  of  the  wildest  and  gayest, 
Arrigo  takes  him  aside,  whispering:  "There  is 
no  room  here  for  both  of  us  unless  you  leave 
Maritana  in  peace.  Quit  this  place;  there  are 
more  girls  in  the  world  to  suit  you."  Pietro 
promises,  and  in  his  passion  he  at  once  turns  to 
the  bride  Giulietta,  whom  he  embraces.  Of 
course  her  bridegroom,  Giovanni,  is  not  willing 
to  put  up  with  this  piece  of  folly  ;  a  violent 
quarrel  ensues,  in  which  the  men  rush  upon 
Pietro  with  daggers  drawn. 

Maritana,  willing  to  sacrifice  herself  in  a 
quarrel  for  which  she  feels  herself  alone  re- 
sponsible, rushes  between  the  combatants. 
Then  Pietro,  fully  awake  to  her  love,  but  see- 
ing that  she  is  lost  to  him,  quickly  ascends  a 
rock,  and  calling  out,  "  0  Sea  eternal,  I  am 
thine;  farewell,  Maritana,  we  shall  meet  in 
heaven!  "  he  precipitates  himself  into  the  waves, 
while  Maritana  falls  back  in  a  faint. 

242 


Lucia  di  Lammermoor 
LUCIA  DI   LA^DIERMOOE 

Tragic  Opera  in  three  acts  by  GAETANO  DONIZETTI 
Test  from  Scotfs  romance  by  SALYATOEE  CAMMERANO 

This  opera  is  Donizetti's  masterpiece,  and, 
except  his  "  Figlia  del  Eeggimento  "  and  "  Lu- 
crezia  Borgia,"  is  the  only  one  of  his  fifty 
operas  which  is  still  given  on  all  stages  abroad. 
The  chief  parts,  those  of  Lucia  and  Edgardo, 
offer  plenty  of  scope  for  the  display  of  brilliant 
talent,  and  Lucia  in  particular  is  a  tragic  hero- 
ine of  the  first  rank. 

In  the  libretto  there  is  not  much  left  of  Scott's 
fine  romance.  Edgardo,  the  noble  lover,  is 
most  sentimental,  and,  generally,  English  char- 
acteristics have  had  to  give  place  to  Italian 
coloring. 

Henry  Ash  ton,  Lord  of  Lammermoor,  has 
discovered  that  his  sister  Lucia  loves  his  mortal 
enemy,  Sir  Edgardo  of  Ravenswood.  He  con- 
fides to  Lucia's  tutor,  Raymond,  that  he  is  lost 
if  Lucia  does  not  marry  another  suitor  of  his 
(her  brother's)  choice. 

Lucia  and  Edgardo  meet  in  the  park.  Ed- 
gardo tells  her  that  he  is  about  to  leave  Scot- 
land for  France  in  the  service  of  his  country.  He 
wishes  to  be  reconciled  to  his  enemy,  Lord  Ash- 
ton,  for  though  the  latter  has  done  him  all  kinds 

243 


The  Standard   Operaglass 

of  evil,  though  he  has  slain  liis  father  and  burnt 
his  castle,  Edgardo  is  willing  to  sacrifice  his 
oath  of  vengeance  to  his  love  for  Lucia.  But 
the  lady,  full  of  evil  forebodings,  entreats  him 
to  wait,  and  swears  eternal  fidelity  to  him. 
After  having  bound  himself  by  a  solemn  oath, 
he  leaves  her,  half  distracted  with  grief. 

In  the  second  act  Lord  Ashton  shows  a  forged 
letter  to  his  sister,  which  goes  to  prove  that  her 
lover  is  false.  Her  brother  now  presses  her 
more  and  more  to  wed  his  friend,  Arthur,  Lord 
Bucklaw,  declaring  that  he  and  his  party  are 
lost,  and  that  Arthur  alone  can  save  him  from 
the  executioner's  axe.  At  last,  when  even  her 
tutor  Raymond  beseeches  her  to  forget  Edgardo, 
and,  like  the  others,  believes  him  to  be  faith- 
less, Lucia  consents  to  the  sacrifice.  The  wed- 
ding takes  place  in  great  haste,  but  just  as  Lucia 
has  finished  signing  the  marriage  contract,  Ed- 
gardo enters  to  claim  her  as  his  own. 

With  grief  and  unbounded  passion  he  now 
sees  in  his  bride  a  traitoress,  and  tearing  his 
ring  of  betrothal  from  her  finger,  he  throws  it 
at  her  feet. 

Henry,  Arthur,  and  Raymond  order  the  rav- 
ing lover  to  leave  the  castle,  and  the  act  closes 
in  the  midst  of  confusion  and  despair. 

The  third  act  opens  with  Raymond's  an- 
nouncement that  Lucia  has  lost  her  reason,  and 
has   killed   her    husband    in  the   bridal   room. 

244 


Lucrezia   Borgia 

Lucia  herself  enters  to  confirm  his  awful  news; 
she  is  still  in  bridal  attire,  and  in  her  demented 
condition  believes  that  Arthur  will  presently 
appear  for  the  nuptial  ceremony.  Everybody 
is  full  of  pity  for  her,  and  her  brother  repents 
his  harshness.  Too  late,  alas! — Lucia  is  fast 
dying,  and  Eliza  leads  her  away  amid  the  lam- 
entations of  all  present. 

Edgardo,  hearing  of  these  things  while  wan- 
dering amid  the  tombs  of  his  ancestors,  resolves 
to  see  Lucia  once  more.  When  dying,  she  asks 
for  him,  but  he  comes  too  late.  The  funeral 
bells  toll,  and  he  stabs  himself,  praying  to  be 
united  to  his  bride  in  heaven. 


LTTCKEZIA  BOKGIA 

Tragic  Opera  in  three  acts  by  DONIZETTI 
Text  by  FELICE  ROMANI,  after  Victor  Hugo's  drama 

Donizetti's  Lucrezia  was  one  of  the  first  tragic 
operas  to  command  great  success,  notwithstand- 
ing its  dreadful  theme  and  its  light  music, 
which  is  half  French,  half  Italian.  It  is  in 
some  respects  the  predecessor  of  Verdi's  operas, 
"  Rigoletto,"  "  Trovatore,"  etc.,  which  have  till 
now  held  their  own  in  many  theatres  because  the 
subject  is  interesting  and  the  music  may  well 
entertain  us  for  an  evening,  though  its  value 

245 


The  Standard  Operaglass 

often  lies  only  in  the  striking  harmonies.  The 
libretto  cannot  inspire  us  with  feelings  of  par- 
ticular pleasure,  the  heroine,  whose  part  is  by 
far  the  best  and  most  interesting,  being  the  cele- 
brated murderess  and  poisoner,  Lucrezia  Borgia. 
At  the  same  time  she  gives  evidence,  in  her  deal- 
ings with  her  son  Gennaro,  of  possessing  a  very 
tender  and  motherly  heart,  and  the  songs  in 
which  she  pours  out  her  love  for  him  are  really 
fine,  as  well  as  touching. 

Lucrezia,  wife  of  Don  Alfonso,  Duke  of  Fer- 
rara,  goes  to  Venice  in  disguise  to  see  the  son  of 
her   first   marriage,    Gennaro.     In   his   earliest 
youth  he  was  given  to  a  fisherman,  who  brought 
him  up  as  his  own  son.     Gennaro  feels  himself 
attracted    towards    the    strange    and    beautiful 
woman  who   visits  him,  but  hearing  from  his 
companions,  who  recognize  and  charge  her  with 
all  sorts  of  crimes,  that  she  is  Lucrezia  Borgia, 
he  abhors  her.      Don  Alfonso,  not  knowing  the 
existence  of  this  son  of  an  early  marriage,  is 
jealous,  and  when  Gennaro  comes  to  Ferrara, 
and  in  order  to  prove  his  hatred  of  the  Borgias 
tears  off  Lucrezia's  name  and  'scutcheon  from 
the  palace  gates,  Rustighello,  the  Duke's  confi- 
dant, is   ordered  to  imprison   him.     Lucrezia, 
hearing  from  her  servant  Gubetta  of  the  out- 
rage to  her  name  and  honor,  complains  to  the 
Duke,  who  promises  immediate  punishment  of 

the  malefactor. 

246 


Lucrezia  Borgia 

Gennaro  enters,  and  terror-stricken  Lucrezia 
recognizes  her  son.  Vainly  does  she  implore 
the  Duke  to  spare  the  youth.  With  exquisite 
cruelty  he  forces  her  to  hand  the  poisoned 
golden  cup  to  the  culprit  herself,  and,  depart- 
ing, bids  her  accompany  her  prisoner  to  the 
door.  This  order  gives  her  an  opportunity  to 
administer  an  antidote  by  which  she  saves  Gen- 
naro's  life,  and  she  implores  him  to  fly.  But 
Gennaro  does  not  immediately  follow  her  ad- 
vice, being  induced  by  his  friend  Orsini  to  as- 
sist at  a  grand  festival  at  Prince  Negroni 's. 

Unhappily  all  those  young  men  who  formerly 
reproached  and  offended  Lucrezia  so  mortally 
in  presence  of  her  son  are  assembled  there  by 
Lucrezia's  orders.  She  has  mixed  their  wine 
with  poison,  and  herself  appears  to  announce 
their  death.  Horror-stricken,  she  sees  Gennaro, 
who  was  not  invited,  among  them.  He  has  par- 
taken of  the  wine,  like  the  others,  but  on  her 
offering  him  an  antidote  he  refuses  to  take  it; 
its  quantity  is  insufficient  for  his  friends,  and 
he  threatens  to  kill  the  murderess.  Then  she 
reveals  the  secret  of  his  birth  to  him,  but  he 
only  turns  from  this  mother,  for  whom  he  had 
vainly  longed  his  whole  life,  and  dies.  The 
Duke,  coming  up  to  witness  his  wife's  horrible 
victory,  finds  all  either  dead  or  dying,  and  Lu- 
crezia herself  expiree,  stricken  down  by  deadly 
remorse  and  pain. 

247 


The  Standard  Operaglass 
THE  MACCABEES 

Opera  in  three  acts  by  ANTON  RUBINSTEIN 

Text  by  MOSENTHAL,  taken  from  Otto  Lndwig's  drama  of  the 

same  name 

This  opera  when  it  appeared  created  a  great 
sensation  in  the  musical  world.  In  it  the  emi- 
nent pianist  and  composer  has  achieved  a  splen- 
did success.  The  music  belongs  to  the  noblest 
and  best,  and  is  in  most  masterly  fashion  adapted 
to  the  Jewish  character.  Ludwig  and  Mosen- 
thal,  both  names  of  renown  in  Germany,  have 
given  a  libretto  worthy  of  the  music. 

The  hero  is  the  famous  warrior  of  the  Old 
Testament.  The  scene  takes  place  160  years 
before  Christ,  partly  at  Modin,  a  city  in  the 
mountains  of  Judah,  and  partly  in  Jerusalem 
and  its  environs. 

The  first  act  shows  Leah  with  three  of  her 
sons,  Eleazar,  Joarim  and  Benjamin.  Eleazar 
is  envious  of  Judah,  the  eldest  son,  whose  cour- 
age and  strength  are  on  everybody's  lips,  but 
his  mother  consoles  him  by  a  prophecy  that 
Eleazar  shall  one  day  be  High-priest  and  King 
of  the  Jews. 

The  fete  of  the  sheep-shearing  is  being  cele- 
brated, and  Noemi,  Judah's  wife,  approaches 
Leah  with  garlands  of  flowers,  asking  for  her 
benediction,     But  she  is  repulsed  by  her  moth- 

248 


The  Maccabees 

er-in-law,  who  is  too  proud  to  recognize  the  low- 
born maid  as  her  equal,  and  slights  her  son 
Judah  for  his  love.  She  tries  to  incite  him  into 
rebellion  against  the  Syrians,  when  Jojakim,  a 
priest,  appears.  He  announces  the  death  of 
Osias,  High-priest  of  Zion,  and  calls  one  of 
Leah's  sons  to  the  important  office.  As  Judah 
feels  no  vocation  for  such  a  burden,  Eleazar,  his 
mother's  favorite,  is  chosen,  and  so  Leah  sees 
her  dream  already  fulfilled.  They  are  about  to 
depart,  when  the  approaching  army  of  the 
Syrians  is  announced.  Terror  seizes  the  people 
as  Gorgias,  the  leader  of  the  enemy,  marches  up 
with  his  soldiers,  and  loudly  proclaims  that  the 
Jews  are  to  erect  an  altar  to  Pallas  Athene,  to 
whom  they  must  pray  henceforth.  Leah  seeks 
to  inflame  Eleazar 's  spirit,  but  his  courage  fails 
him.  The  altar  is  soon  erected,  and  as  Gorgias 
sternly  orders  that  sacrifices  are  to  be  offered  to 
the  goddess,  Boas,  Noemi's  father,  is  found  will- 
ing to  bow  to  the  enemy's  commands.  But  the 
measure  is  full;  Judah  steps  forth  and  striking 
Boas,  the  traitor  to  their  faith,  dead,  loudly 
praises  Jehova.  He  calls  his  peojale  to  arms, 
and  repulses  the  Syrians,  and  Leah,  recogniz- 
ing her  son's  greatness,  gives  him  her  benedic- 
tion. 

The  second  act  represents  a  deep  ravine  near 
Emaus;  the  enemy  is  beaten,  and  Judah  is  re- 
solved to  drive  him  from  Zion's  walls,  but  Joja- 

249 


The  Standard   Operaglass 

kim  warns  him  not  to  profane  the  coming  Sab- 
bath. 

Judah  tries  to  overrule  the  priests  and  to  ex- 
cite the  people,  but  he  is  not  heard,  and  the 
enemy  is  able  to  kill  the  psalm-singing  soldiers 
like  lambs. 

The  next  scene  shows  us  Eleazar  with  Cleo- 
patra, daughter  of  King  Antiochus  of  Syria. 

They  love  each  other,  and  Eleazar  consents  to 
forsake  his  religion  for  her,  while  she  promises 
to  make  him  King  of  Jerusalem. 

In  the  next  scene  Leah,  in  the  city  of  Modin, 
is  greeted  with  acclamations  of  joy,  when  Simei, 
a  relative  of  the  slain  Boas,  appears  to  bewail 
Judah's  defeat:  other  fugitives  coming  up  con- 
firm his  narrative  of  the  massacre.  Leah  hears 
that  Judah  fled  and  that  Antiochus  approaches, 
conducted  by  her  own  son  Eleazar.  She  curses 
the  apostate.  She  has  still  two  younger  sons, 
but  the  Israelites  take  them  from  her  to  give  as 
hostages  to  the  King  Antiochus.  Leah  is  bound 
to  a  cypress  tree  by  her  own  people,  who  attrib- 
ute their  misfortunes  to  her  and  to  her  sons. 
Only  Noemi,  the  despised  daughter-in-law,  re- 
mains to  liberate  the  miserable  mother,  and  to- 
gether they  resolve  to  ask  the  tyrant's  pardon 
for  the  sons. 

In  the  third  act  we  find  Judah,  alone  and  un- 
recognized, in  the  deserted  streets  of  Jerusalem. 
Hearing  the  prayers  of  the  people  that  Judah 

250 


The    Maccabees 

may  be  sent  to  them,  he  steps  forth  and  tells 
them  who  he  is,  and  all  sink  at  his  feet,  swear- 
ing to  fight  with  him  to  the  death.  While 
Judah  prays  to  God  for  a  sign  of  grace,  Noemi 
comes  with  the  dreadful  news  of  the  events  at 
Modin,  which  still  further  rouses  the  anger  and 
courage  of  the  Israelites.  Meanwhile  Leah  has 
succeeded  in  penetrating  into  Antiochus's  pres- 
ence to  beg  the  lives  of  her  children  from  him. 
Eleazar,  Gorgiasand  Cleopatra  join  their  prayers 
to  those  of  the  poor  mother,  and  at  last  Anti- 
ochus  consents,  and  the  two  boys  are  led  into 
the  room. 

But  the  King  only  grants  their  liberty  on  con- 
dition that  they  renounce  their  faith.  They  are 
to  be  burnt  alive  should  they  abide  by  their 
heresy.  The  mother's  heart  is  full  of  agony, 
but  the  children's  noble  courage  prevails.  They 
are  prepared  to  die  for  their  God,  but  the  un- 
happy mother  is  not  even  allowed  to  share  their 
death.  AVhen  Eleazar  sees  his  brothers'  firm- 
ness his  conscience  awakens,  and  notwithstand- 
ing Cleopatra's  entreaties  he  joins  them  on 
their  way  to  death.  The  hymns  of  the  youth- 
ful martyrs  are  heard,  but  with  the  sound  of 
their  voices  there  suddenly  mingles  that  of  a 
growing  tumult.  Antiochus  falls,  shot  through 
the  heart,  and  the  Israelites  rush  in,  headed  by 
Judah,  putting  the  Syrians  to  flight.  Leah  sees 
her  people's  victory,  but  the  trial  has  been  too 

251 


The  Standard  Ope'raglass 

great — she  sinks  back  lifeless.  Judah  is  pro- 
claimed King  of  Zion,  but  he  humbly  bends  his 
head,  giving  all  glory  to  the  Almighty  God. 


THE  MAGIC   FLUTE 
(DIE   ZAUBEKFLOTE) 

Opera  in  two  acts  by  MOZART 
Text  by  SCHIKANEDER 

This  last  opera  of  Mozart's,  written  only  a 
few  months  before  his  death,  approaches  so  near 
to  perfection  that  one  almost  feels  in  it  the  mo- 
tion of  the  spirit-wings  which  were  so  soon,  alas! 
to  bear  away  Mozart's  genius  from  earth,  too 
early  by  far,  for  he  died  at  the  age  of  thirty- 
five,  having  accomplished  in  this  short  space  of 
time  more  than  other  great  composers  in  a  long 
life. 

The  Magic  Flute  is  one  of  the  most  remark- 
able operas  known  on  the  stage.  It  is  half  fic- 
titious, half  allegorical.  The  text,  done  by  the 
old  stage-director,  Schikaneder,  was  long  mis- 
taken for  a  fiction  without  any  common  sense, 
but  Mozart  saw  deeper,  else  he  would  not  have 
adapted  his  wonderful  music  to  it.  It  is  true 
that  the  tales  of  old  Egypt  are  mixed  up  in  a 
curious  manner  with  modern  Freemasonry,  but 

252 


The  Magic  Flute 

nobody,  except  a  superficial  observer,  could  fail 
to  catch  a  deep  moral  sense  in  the  naive  rhymes. 

The  incidents  of  the  opera  are  the  following: 
Prince  Tamino,  a  youth  as  valiant  as  he  is  noble 
and  virtuous,  is  implored  by  the  Queen  of  Night 
to  save  her  daughter,  whom  the  old  and  sage 
High-priest  Sarastro  has  taken  from  her  by 
force.  The  bereaved  mother  pours  forth  her 
woe  in  heart-melting  sounds  and  promises  every- 
thing to  the  rescuer  of  her  child.  Tamino  is 
filled  with  ardent  desire  to  serve  her.  On  his 
way  he  meets  the  gay  Papageno,  who  at  once 
agrees  to  share  the  Prince's  adventures.  Papa- 
geno is  the  gay  element  in  the  opera;  always 
cheerful  and  in  high  spirits,  his  ever-ready 
tongue  plays  him  many  a  funny  trick.  So  we 
see  him  once  with  a  lock  on  his  mouth  by  way 
of  punishment  for  his  idle  prating.  As  he 
promises  never  to  tell  a  lie  any  more,  the  lock 
is  taken  away  by  the  three  ladies  of  the  Queen 
of  Night.  Those  ladies  present  Tamino  with  a 
golden  flute,  giving  at  the  same  time  an  instru- 
ment made  with  little  silver  bells  to  Papageno, 
both  of  which  are  to  help  them  in  times  of  dan- 
ger. The  Queen  of  Night  even  sends  with 
them  three  boy-angels.  These  are  to  point  out 
to  them  the  ways  and  means  by  which  they  may 
attain  their  purpose. 

Now  the  young  and  beautiful  Princess  Pamina 
is  pursued  by  declarations  of  love  from  a  negro 

253 


The  Standard  Operaglass 

servant  of  Sarastro.  Papageno  comes  to  her 
rescue,  frightening  the  negro  Monostatos  with 
his  feathery  dress.  Papageno,  on  the  other 
hand,  fears  the  negro  on  account  of  his  black- 
ness, believing  him  to  be  the  devil  in  person. 
Papageno  escapes  with  Paulina,  but  the  negro 
overtakes  him  with  his  servants.  Then  Papa- 
geno shakes  his  bells,  and  lo!  all,  forgetting  their 
wrath,  forthwith  begin  to  dance. 

Meanwhile  Tamino  reaches  Sarastro's  castle, 
and  at  once  asks  for  the  High-priest,  poor  Pa- 
mina's  bitter  enemy.    The  Under-priests  do  not 
allow  him  to  enter,  but  explain  that  their  mas- 
ter Sarastro  is  as  good  as  he  is  sage,  and  that  he 
always  acts  for  the  best.     They  assure  Tamino 
that'  the  Princess  lives  and  is  in  no  danger. 
Full  of  thanks,  the  Prince  begins  to  play  on  his 
flute;  and  just  then  he  hears  Papageno's  bells. 
At   this   juncture   Sarastro    appears,    the   wise 
Master,  before  whom  they  all  bow.     He  pun- 
ishes the  wicked  negro;  but  Tamino  and  his 
Pamina  are  not  to  be  united  without  first  having 
given  ample  proof  of  their  love  and  constancy. 
Tamino  determines  to  undergo  whatever  trials 
may  await  him,  but  the  Queen  of  Night,  know- 
ing all,  sends  her  three  ladies  to  deter  Tamino 
and  his  comrade  from  their  purpose.     But  all 
temptation  is  gallantly  set  aside;  they  bave  given 
a  promise  to  Sarastro  which  they  will  keep. 
Even  the  Queen  of  Night  herself  is  unable  to 

254 


The  Magic   Flute 

weaken  their  strength  of  purpose;  temptations 
of  every  kind  overtake  them,  but  Tamino  re- 
mains firm.  He  is  finally  initiated  into  the 
mysteries  of  the  goddess  Isis. 

In  the  interval  Pamina  deems  Tamino  faith- 
less. She  would  fain  die,  but  the  three  celestial 
youths  console  her  by  assuring  her  that  Ta- 
mino's  love  is  true,  and  that  he  passes  through 
the  most  severe  trials  solely  on  her  behalf. 

On  hearing  this,  Pamina  at  once  asks  to  share 
in  the  trials,  and  so  they  walk  together  through 
fire  and  water,  protected  by  the  golden  flute,  as 
well  as  by  their  courage  and  constancy.  They 
come  out  purified  and  happy. 

Papageno,  having  lost  his  companion,  has 
grown  quite  melancholy,  and  longs  for  the  little 
wife  that  was  promised  to  him  and  shown  to  him 
only  for  a  few  moments.  He  resolves  at  last  to 
end  his  life  by  hanging  himself,  when  the  celestial 
youths  appear,  reminding  him  of  his  bells.  He 
begins  to  shake  them,  and  Papagena  appears  in 
feathery  dress,  the  very  counterpart  of  himself. 
All  might  now  be  well,  were  it  not  that  the 
Queen  of  Night,  a  somewhat  unreasonable  lady, 
broods  vengeance.  She  accepts  the  negro  Mono- 
statos  as  her  avenger,  and  promises  to  give  him 
her  daughter.  But  already  Sarastro  has  done 
his  work;  Tamino  is  united  to  his  Pamina,  and 
before  the  6unny  light  of  truth  everything  else 
vanishes  and  sinks  back  into  night. 

255 


The  Standard  Operaglass 
THE  MAIDENS   OF   SCHILDA 

Comic  Opera  in  three  acts  by  ALBAN  FORSTER 
Text  by  RUDOLF  BUNGE 

The  first  work  of  this  composer  was  produced 
on  the  stage  of  the  Eoyal  Dresden  Theatre  on 
the  12th  of  October,  1889,  and  was  received 
with  great  applause.  This  surprising  success  is 
due  firstly  to  the  great  popularity  which  Forster 
enjoyed  as  former  Director  of  the  renowned 
"  Liedertafel  "  (society  for  vocal  music)  and.  as 
teacher,  then  to  the  numerous  pretty  melodies, 
intermixed  with  national  airs,  in  which  par- 
ticularly the  old  "  Dessauer  march  "  is  skilfully 
interwoven,  and  then  the  well-known  student 
air  "Was  kommt  dort  von  der  Hoh,"  which 
of  course  gladdens  the  heart  of  every  student, 
old  or  young. 

Nevertheless,  it  might  be  called  an  operette 
rather  than  an  opera.  The  text  at  least  does 
not  range  any  higher;  it  is  often  almost  silly, 
the  rhymes  are  bad  and  unequal. 

Nevertheless  those  who  like  to  be  amused  by 
a  light  and  agreeable  flow  of  music  may  pass  a 
merry  evening  listening  to  the  droll  exploits  of 
the  two  Schilda  maidens.  Schilda  and  Schild- 
burghers  are,  in  Germany,  synonymous  with 
narrow-mindedness,  which    is   indeed   strongly 

256 


The  Maidens  of  Schilda 

marked  in  the  inhabitants  of  this  out-of-the- 
way  town. 

The  scene  is  laid  in  the  last  century. 

In  the  first  act  an  order  of  the  Prince  of 
Dessau  calls  all  the  youngsters  of  Schilda  to 
arms.  The  chief  magistrate,  with  the  charac- 
teristic name  of  Eiipelmei  (Riipel,  clown),  who 
has  already  given  to  the  town  so  many  wise 
laws — as,  for  instance,  the  one  which  decrees 
that  the  Schilda  maidens  under  thirty  are  not 
allowed  to  marry — now  demonstrates  to  his  two 
nieces,  Lenchen  and  Hedwig,  the  benefit  of  his 
legislation,  inasmuch  as  they  might  otherwise 
be  obliged  to  take  leave  of  their  husbands.  He 
wants  to  marry  one  of  them  himself,  but  they 
have  already  given  their  hearts  to  two  students, 
and  only  laugh  at  their  vain  uncle.  This  tyrant 
now  orders  all  the  maidens  to  be  locked  up  in  a 
place  of  safety  every  evening,  in  order  to  guard 
them  from  outsiders ;  further,  the  worthy 
Schildaers  resolve  to  build  a  wall  which  is  to 
shut  them  out  from  the  depraved  world. 

While  Riipelmei  is  still  reflecting  upon  these 
ingenious  ideas,  a  French  Courier,  the  Marquis 
de  Maltracy,  enters,  imploring  the  Burgomaster 
to  hide  him  from  the  Prussian  pursuers,  who 
are  on  his  track.  He  promises  a  cross  of  honor 
to  the  ambitious  Riipelmei,  who  at  once  hides 
him  in  the  Town  Hall.  Meanwhile  a  chorus  of 
students   approaches,  who   have   left   Halle   to 

257 


The  Standard   Operaglass 

avoid  being  enlisted  in  the  army.  Lenchen 
and  Hedchen,  recognizing  their  sweethearts 
among  them,  greet  them  joyfully,  and  when 
Kupelmei  appears  they  propitiate  him  by  flat- 
tery. 

A  lively  scene  of  student  life  ensues,  in  which 
the  maidens  join,  after  their  old  night-guard- 
ian, Schlump,  has  been  intoxicated. 

Kupelmei,  returning  and  seeing  this  spectacle, 
orders  the  police  to  seize  the  students ;  but  in- 
stead of  doing  so  they  thrust  him  into  the  very 
same  barrel  which  he  has  invented  for  the  pun- 
ishment of  male  citizens,  and  so  he  is  obliged 
to  be  an  impotent  spectator  of  their  merry- 
making. 

In  the  second  act  he  has  been  liberated  by  his 
faithful  citizens;  the  students  have  escaped,  and 
the  maidens  are  waiting  to  be  locked  up  in  their 
place  of  refuge.     But  in  the  shades  of  evening 
the  two  students,  Berndt  and  Walter,  return 
and  are  hidden  by  their  sweethearts,  Lenchen 
and  Hedchen,  among  the  other  maidens,  after 
having  put  on  female  garments.     They  all  have 
hardly  disappeared  in  the  Town  Hall  when  the 
Prince  of  Dessau  arrives  with  his  Grenadiers  to 
seize  the  students,  of  whose  flight  to  Schilda  he 
has  been  informed.     Riipelmei. tells  him  that  he 
has  captured  and  killed  many  of  them,  but  the 
Prince,  disbelieving  him,  orders  his  soldiers  to 
search   the   houses,  beginning  with   the   Town 

258 


The  Maidens  of  Schilda 

Hall.  Rupelmei,  remembering  the  Marquis, 
implores  him  to  desist  from  his  resolution,  the 
Town  Hall  being  the  nightly  asylum  for 
Schilda's  daughters,  but  in  vaiu.  Schlump, 
the  snoring  guardian,  is  awakened  and.  ordered 
to  open  the  door  to  the  room  where  the  maid- 
ens are  singing  and  frolicking  with  their  guests. 
The  Marquis  de  Maltracy  has  also  introduced 
himself,  but,  perceiving  that  he  is  a  spy,  they  all 
turn  from  him  in  disdain;  when  the  Prussian 
Grenadiers  are  heard,  they  quickly  hide  him  in 
a  large  trunk. 

The  Prince,  finding  all  those  pretty  girls,  is 
quite  affable,  and  a  general  dancing  and  merry- 
making ensues,  during  which  the  students 
vainly  try  to  escape,  when  suddenly  two  of  the 
Grenadiers  perceive  that  their  respective  beauties 
have  beards.  The  students  are  discovered  and 
at  once  ordered  to  be  put  into  the  uniform, 
while  Rupelmei  is  arrested  and  handcuffed,  not- 
withstanding his  protestations. 

When  the  third  act  opens,  drilling  is  going 
on  in  the  town,  and  Walter  and  Berndt  are 
among  the  recruits. 

Lenchen  and  Hedwig  arrive  with  the  other 
girls  to  free  the  students.  They  flatter  the 
drill-sergeant,  and  soon  the  drilling  is  forgot- 
ten, and  they  are  dancing  merrily,  when  the 
Prince  of  Dessau  arrives  in  the  midst  of  the 
fun,  and  threatens  to  have  the  officer  shot  for 

259 


The  Standard  Operaglass 

neglect  of  duty  and  the  students  as  deserters. 
While  the  maidens   are   entreating  him  to  be 
merciful,    Berndt     suddenly     remembers     the 
French   Courier.      He   quickly  relates  to  the 
Prince  that  they  have  captured  a  French  Mar- 
quis, who  has  a  most  important  document  in 
his  possession,  the  plan  of  war.     The  Prince 
promising  to  set  them  free  if  that  proves  to  be 
true,    the    Marquis    is    conducted    before    the 
Prince,  and   the  latter  discovers  that  he  is  a 
messenger  to  the  King  of  France,  and  that  his 
letter  is  to  show  how  the  French  army  might 
attack  the  Russians  unawares.     By  this  discov- 
ery the  Germans  are  saved,  for  Dessau  has  time 
to  send  an  officer  to  Saxony  with  orders  to  oc- 
cupy Dresden  before  the  arrival  of  the  enemy. 

Of  course,  the  students  are  set  free,  and  each 
of  them  obtains  an  office  and  the  hand  of  his 
maiden  besides.  The  luckless  Riipelmei  is  also 
liberated,  being  too  much  of  a  fool  to  deserve 
even  the  Prince's  scorn,  who  further  decrees 
that  the  foolish  town  may  keep  its  Burgomas- 
ter, as  best  suited  to  its  narrow-mindedness. 


260 


Marga 
-     MAKGA 

Opera  in  one  act  by  GEORG  PITTRICH 
Text  by  ARNO  SPIESS 

The  first  performance  of  this  highly  interest- 
ing little  opera  took  place  in  Dresden  in  Febru- 
ary, 1894,  and  awakened  the  interest  of  every 
music-lover  in  the  hitherto  quite  unknown  com- 
poser. Scenery  and  music  are  of  the  coloring 
now  common  to  modern  composers  ;  for  whom, 
unfortunately,  Mascagni  is  still  the  god  at 
whose  shrine  they  worship. 

The  scene  is  laid  in  a  Bulgarian  village  at  the 
foot  of  the  Schipka  Pass.  Marga,  the  heroine, 
a  Roumanian  peasant-girl,  has  had  a  sister, 
Petrissa,  who,  suffering  cruel  wrong  at  the 
hands  of  Vasil  Kiselow,  has  cursed  her  seducer 
and  sought  death  in  the  waves.  Marga,  who 
had  vowed  to  avenge  her  sister,  is  wandering 
through  the  world  in  vain  search  of  Vasil. 
When  the  curtain  opens  she  has  just  reached 
the  village  where  Vasil  occupies  the  most  con- 
spicuous position  of  judge.  Thoroughly  ex- 
hausted she  sinks  down  at  the  foot  of  a  cross, 
and  falls  asleep. 

Vasil's  son,  Manal,  finding  her  thus,  detects 
a  wonderful  likeness  between  the  sleeping  beauty 
and  a  picture  which  he  had  found  some  time 

261 


The  Standard   Operaglass 

ago  in  the  miraculous  Sabor  Cave,  and  which 
for  him  is  the  ideal  of  love  and  beauty.  This 
picture,  a  likeness  of  Petrissa,  had  been  hung 
there  by  Vasil,  in  order  to  exorcise  the  curse  of 
the  unhappy  virgin,  but  Manal  has  no  knowl- 
edge of  his  father's  misdeed. 

When  Marga  awakes  the  young  people  of 
course  fall  in  love  with  each  other;  and  Marga 
discovers  too  late  that  Manal  is  the  son  of  her 
sister's  destroyer.  Hesitating  between  love  and 
her  vow  of  vengeance  she  wildly  reproaches 
Vasil,  who  falls  at  her  feet  in  deep  contrition, 
beseeching  her  forgiveness,  which  she  grants  at 
last.  Full  of  penitence,  he  relinquishes  his 
property  to  the  young  people,  and  exhorting 
Manal  to  be  a  just  and  clement  judge,  he  be- 
takes himself  to  the  mountains,  resolved  to  join 
in  the  war  against  the  Turks. 


MAKGTJERITE   (OE  FAUST) 

Opera  in  five  acts  by  CHARLES  GOUNOD 

The  subject  of  this  piece  is  taken  from  the 
first  part  of  Goethe's  greatest  drama,  "  Faust." 

Faust,  a  celebrated  old  doctor,  is  consumed  by 
an  insatiable  thirst  for  knowledge,  but,  having 
already  lived  through  a  long  life  devoted  to  the 
acquirement  of  learning  and  to  hard  works  as  a 

262 


Marguerite 

scholar,  without  having  his  soul-hunger  appre- 
ciahly  relieved,  is  dissatisfied,  and  in  his  disap- 
pointment wishes  to  be  released  from  this  life, 
which  has  grown  to  be  a  burden  to  him.  At 
this  moment  Mephistopheles,  the  incarnation 
of  the  Evil  One,  appears  and  persuades  him  to 
try  life  in  a  new  shape.  The  old  and  learned 
doctor  has  only  known  it  in  theory;  Mephisto 
will  now  show  it  to  him  in  practice  and  in  all 
the  splendor  of  youth  and  freshness.  Faust 
agrees,  and  Mephisto  endows  him  with  youth 
and  beauty.  In  this  guise  he  sees  earth  anew. 
It  is  Easter-time,  when  all  is  budding  and  aglow 
with  freshness  and  young  life,  and  on  such  a 
brigbt  spring  day  he  first  sees  Margaretha,  and 
at  once  offers  her  his  arm. 

But  this  lovely  maiden,  pure  and  innocent, 
and  well  guarded  by  a  jealous  brother,  named 
Valentin,  refuses  his  company  somewhat  sharply. 
Nevertheless  she  cannot  help  seeing  the  grace 
and  good  bearing  of  the  fine  cavalier,  and  the 
simple  village-maiden  is  inwardly  pleased  with 
his  flattery.  A  bad  fate  wills  it  that  her  broth- 
er, Valentin,  who  is  a  soldier,  has  to  leave  on 
active  service,  and  after  giving  many  good  ad- 
.  vices  and  warnings  for  his  beautiful  sister's  wel- 
fare, he  goes,  and  so  Mephisto  is  able  to  intro- 
duce Faust  to  the  unprotected  girl  by  means  of 
a  message,  which  he  is  supposed  to  have  received 
for  an  old  aunt  of  Margaretha's,  Frau  Marthe 

263 


The  Standard   Operaglass 

Schwertlein.  This  old  gossip,  hearing  from 
Mephisto  that  her  husband  has  been  killed  in 
battle,  lends  a  willing  ear  to  the  flatteries  of  the 
cunning  Devil;  and  Margaretha  is lef t  to  Faust, 
who  wins  her  by  his  love  and  easy  manners. 
She  is  only  a  simple  maiden,  knowing  nothing 
of  the  world's  ways  and  wiles,  and  she  accepts 
her  lover's  precious  gifts  with  childish  delight. 

By  and  bye  her  brother  Valentin  returns  vic- 
torious from  the  war,  but  alas!  too  late.  He 
challenges  his  sister's  seducer;  Mephisto,  how- 
ever, directs  Faust's  sword,  and  the  faithful 
brother  is,  much  against  Faust's  own  will,  slain, 
cursing  his  sister  with  his  last  breath. 

Now  Margaretha  awakes  to  the  awful  reality 
of  her  situation,  and  she  shrinks  from  her  broth- 
er's murderer.  Everybody  shuns  her,  and  she 
finds  herself  alone  and  forsaken.  In  despair 
she  seeks  refuge  in  church,  but  her  own  con- 
science is  not  silenced ;  it  accuses  her  more  loudly 
than  all  the  pious  songs  and  prayers.  Perse- 
cuted by  evil  spirits,  forsaken  and  forlorn,  Mar- 
garetha's  reason  gives  way,  and  she  drowns  her 
new-born  child. 

Meanwhile  Mephisto  has  done  everything  to 
stifle  in  Faust  the  pangs  of  conscience.  Faust 
never  wills  the  evil  ;  he  loves  Margaretha  sin- 
cerely, but  the  bad  spirit  urges  him  onward. 
He  shows  him  all  the  joys  and  splendors  of  earth 
and  antiquity  in  its  most  perfect  form  in  the 

264 


Martha 

person  of  Helena,  but  in  the  midst  of  all  his 
orgies  Faust  sees  Margaretha.  He  beholds  her, 
pale,  unlike  her  former  self,  in  the  white  dress 
of  the  condemned,  with  a  blood-red  circle  round 
the  delicate  neck.  Then  he  knows  no  rest;  he 
feels  that  6he  is  in  danger,  and  he  bids  Mephisto 
save  her. 

Margaretha  has  actually  been  thrown  into 
prison  for  her  deed  of  madness,  and  now  the 
executioner's  axe  awaits  her.  She  sits  on  the 
damp  straw,  rocking  a  bundle,  which  she  takes 
for  her  baby,  and  across  her  poor,  wrecked  brain 
there  flit  once  more  pictures  of  all  the  scenes  of 
her  short-lived  happiness.  Then  Faust  enters 
with  Mephisto,  and  tries  to  persuade  her  to  es- 
cape with  them.  But  she  instinctively  shrinks 
from  her  lover,  loudly  imploring  God's  and  the 
Saints'  pardon.  God  has  mercy  on  her,  for, 
just  as  the  bells  are  tolling  for  her  execution, 
she  expires,  and  her  6oul  is  carried  to  Heaven 
by  angels,  there  to  pray  for  her  erring  lover, 
Mephisto  disappears  into  the  earth. 

MAETHA 

Comic  Opera  in  four  acts  by  FLOTOW 
Text  by  W.  FRIEDRICH 

This  charming  opera  finally  established  the 
renown  of  its  composer,  who  had  first  found  his 

265 


The   Standard   Operaglass 

way  to  public  favor  through  "  Stradella."  It 
ranks  high  among  our  comic  operas,  and  has 
become  as  much  liked  as  those  of  Lortzing  and 
Nicola  i. 

Not  the  least  of  its  merits  lies  in  the  text, 
which  Friedrich  worked  out  dexterously,  and 
which  is  amusing  and  iuteresting  throughout. 

Lady  Harriet  Durham,  tired  of  the  pleasures 
and  splendors  of  Court,  determines  to  seek  else- 
where for  a  pastime,  and,  hoping  to  find  it  in 
a  sphere  different  from  her  own,  disguises  her- 
self and  her  confidant  Nancy  as  peasant  girls,  in 
which  garb  they  visit  the  Fair  at  Eichmond, 
accompanied  by  Lord  Tristan,  who  is  hopelessly 
enamored  of  Lady  Harriet,  and  unwillingly 
complies  with  her  wish  to  escort  them  to  the 
adventure  in  the  attire  of  a  peasant.  They  join 
the  servant  girls  who  are  there  to  seek  em- 
ployment, and  are  hired  by  a  tenant,  Plunkett, 
and  his  foster  brother,  Lionel,  a  youth  of  some- 
what extraordinary  behavior,  his  air  being  noble 
and  melancholy,  and  much  too  refined  for  a 
country  squire,  while  the  other,  though  some- 
what rough,  is  frank  and  jolly  in  his  manner. 

The  disguised  ladies  take  the  handsel  from 
them,  without  knowing  that  they  are  bound  by 
it,  until  the  sheriff  arrives  to  confirm  the  bar- 
gain. Now  the  joke  becomes  reality,  and  they 
hear  that  they  are  actually  hired  as  servants  for 
a  whole  year. 

266 


Martna 

Notwithstanding  Lord  Tristan's  protesta- 
tions, the  ladies  are  carried  off  by  their  mas- 
ters, who  know  them  under  the  names  of  Martha 
and  Julia. 

In  the  second  act  we  find  the  ladies  in  the 
company  of  the  tenants,  who  set  them  instantly 
to  work.  Of  course  they  are  totally  ignorant  of 
household  work,  and  as  their  wheels  will  not  go 
round,  Pluukett  shows  them  how  to  spin.  In 
his  rough  but  kind  way  he  always  commands 
and  turns  to  Nancy,  with  whom  he  falls  in  love, 
but  Lionel  only  asks  softly  when  he  wishes  any- 
thing done.  He  has  lost  his  heart  to  Lady 
Harriet,  and  declares  his  love  to  her.  Though 
she  is  pleased  by  his  gentle  behavior,  she  is  by 
no  means  willing  to  accept  a  country  squire, 
and  wounds  him  by  her  mockery.  Meanwhile 
Plunkett  has  sought  Nancy  for  the  same  pur- 
pose, but  she  hides  herself,  and  at  last  the  girls, 
are  sent  to  bed  very  anxious  and  perplexed  at 
the  turn  their  adventure  has  taken.  But  Lord 
Tristan  comes  to  their  rescue  in  a  coach,  and 
they  take  flight,  vainly  pursued  by  the  tenants. 
Plunkett  swears  to  catch  and  punish  them,  buJ 
Lionel  sinks  into  deep  melancholy,  from  which 
nothing  can  arouse  him. 

In  the  third  act  we  meet  them  at  a  Court- 
hunt,  where  they  recognize  their  hired  servants 
in  two  of  the  lady  hunters.  They  assert  their 
right,   but  the  ladies  disown  them  haughtily, 

267 


The  Standard   Operaglass 

and  when  Lionel,  whose  reason  almost  gives  way 
under  the  burden  of  grief  and  shame  which  over- 
whelms him  at  thinking  himself  deceived,  by 
Martha,  tells  the  whole  story  to  the  astonished 
Court,  the  ladies  pronounce  him  insane,  and 
Lord  Tristan  sends  him  to  prison  for  his  in- 
solence, notwithstanding  Lady  Harriet  and 
Nancy's  prayer  for  his  pardon. 

Lionel  gives  a  ring  to  Plunkett,  asking  him 
to  show  it  to  the  Queen,  his  dying  father  having 
told  him  that  it  would  protect  him  from  every 
danger. 

In  the  fourth  act  Lady  Harriet  feels  remorse 
for  the  sad  consequences   of  her  haughtiness. 
She  visits   the   prisoner   to   crave   his  pardon. 
She  tells  him  that  she  has  herself  carried  his 
ring  to  the  Queen,  and  that  he  has  been  recog- 
nized by  it  as  Lord  Derby's  son,  once  banished 
from  Court,  but  whose  innocence  is  now  proved. 
Then  the  proud  lady  offers  hand  and  heart  to 
Lionel,  but  he  rejects  her,  believing   himself 
duped.      Lady    Harriet,    however,    who    loves 
Lionel,  resolves   to  win   him   against   his  will. 
She  disappears,  and  dressing  herself  and  Nancy 
in  the  former  peasant's  attire,   she  goes  once 
more  to  the  Fair  at  Eichmond,  where  Lionel  is 
also  brought  by  his  friend  Plunkett.     He  sees 
his  beloved  Martha  advance  toward  him,  prom- 
ising to  renounce  all  splendors  and  live  only  for 
him;    then   his   melancholy    vanishes,    and    he 

268 


Tne  Master-Singers   of  Nuremberg 

weds  her,  his  name  and  possessions  being  re- 
stored to  him,  while  Plunkett  obtains  the  hand 
of  pretty  Nancy,  alias  Julia. 


THE  MASTER- SINGERS   OF 
NUREMBERG 

Opera  in  three  acts  by  WAGNER 

This  opera  carries  us  back  to  the  middle  of 
the  sixteenth  century,  and  the  persons  whom 
we  meet  are  all  historical. 

Amongst  the  tradesmen  whose  rhyme-making 
has  made  them  famous,  Hans  Sachs,  the  shoe- 
maker, is  the  most  conspicuous. 

The  music  is  highly  original,  though  not  pre- 
cisely melodious,  and  is  beautifully  adapted  to 
its  characteristically  national  subject. 

In  the  first  act  we  see  St.  Catharine's  church 
in  Nuremberg,  where  Divine  Service  is  being 
celebrated,  in  preparation  for  St.  John's  Day. 
Eva,  the  lovely  daughter  of  Master  Pogner,  the 
jeweller,  sees  the  }roung  knight,  Walter  Stolz- 
ing,  who  has  fallen  in  love  with  Eva,  and  who 
has  sold  his  castle  in  Franconia  to  become  a 
citizen  of  Nuremberg.  She  tells  him  that  her 
hand  is  promised  to  the  winner  of  the  prize  for 
a  master-song,  to  be  sung  on  the  following 
morning. 

25<) 


The  Standard   Operaglass 

We  are  now  called  to  witness  oue  of  those  an- 
cient customs  still  sometimes  practised  in  old 
German  towns.  The  master-singers  appear, 
and  the  apprentices  preparf  everything  needful 
for  them.  Walter  asks  one  of  them,  called 
David,  an  apprentice  of  Sachs,  what  he  will 
have  to  do  in  order  to  compete  for  the  prize. 
He  has  not  learned  poetry  as  a  profession  like 
those  worthy  workmen,  and  David  vainly  tries 
to  initiate  him  into  their  old-fashioned  rhym- 
ing. Walter  leaves  him,  determined  to  win  the 
prize  after  his  own  fashion. 

Pogner  appears  with  Beckmesser  the  clerk, 
whom  he  wishes  to  have  as  son-in-law.  Beck- 
messer is  so  infatuated  that  he  does  not  douht 
of  his  success.  Meanwhile  Walter  comes  up  to 
them,  entreating  them  to  admit  him  into  their 
corporation  as  a  master-singer. 

Pogner  consents,  but  Beckmesser  grumbles, 
not  at  all  liking  to  have  a  nobleman  among 
them.  When  all  are  assembled,  Pogner  declares 
his  intention  of  giving  his  daughter  to  the  win- 
ner of  the  master-song  on  the  day  of  St.  John's 
festival,  and  all  applaud  his  resolution.  Eva 
herself  may  refuse  him,  but  never  is  she  to  wed 
another  than  a  crowned  master-singer.  Sachs, 
who  loves  Eva  as  his  own  child,  seeks  to  change 
her  father's  resolution,  at  the  same  time  pro- 
posing to  let  the  people  choose  in  the  matter  of 
the  prize,  but  he  is  silenced  by  his  colleagues. 

270 


The  Master-Singers  of  Nuremberg 

They  now  want  to  know  where  Walter  has 
learned  the  art  of  poetry  and  song,  and  as  he 
designates  Walter  von  der  Vogelweide  and  the 
birds  of  the  forest,  they  shrug  their  shoulders. 

He  begins  at  once  to  give  a  proof  of  his  art, 
praising  Spring  in  a  song  thrilling  with  melody. 
Beckmesser  interrupts  him;  he  has  marked  the 
rhymes  on  the  black  tablet,  but  they  are  new 
and  unintelligible  to  this  dry  verse-maker,  and 
he  will  not  let  them  pass.  The  others  share  his 
opinion;  only  Hans  Sachs  differs  from  them, 
remarking  that  Walter's  song,  though  new  and 
not  after  the  old  use  and  wont  rules  of  Nurem- 
berg, is  justified  all  the  same,  and  so  Walter  is 
allowed  to  finish  it,  which  he  does  Avith  a  bold 
mockery  of  the  vain  poets,  comparing  them 
to  crows  oversounding  a  singing-bird.  Sachs 
alone  feels  that  Walter  is  a  true  poet. 

In  the  second  act  David  the  apprentice  tells 
Magdalene,  Eva's  nurse,  that  the  new  singer 
did  not  succeed,  at  which  she  is  honestly 
grieved,  preferring  the  gallant  younker  for  her 
mistress,  to  the  old  and  ridiculous  clerk.  The 
old  maid  loves  David;  she  provides  him  with 
food  and  sweets,  and  many  are  the  railleries 
which  he  has  to  suffer  from  his  companions  in 
consequence. 

The  eveuing  coming  on,  we  see  Sachs  in  his 
open  workshop;  Eva,  his  darling,  is  in  confi- 
dential talk  with  him.    She  is  anxious  about  to- 

271 


The  Standard  Operaglass 

morrow,  and  rather  than  wed  Beckmesser  she 
would  marry  Sachs,  whom  she  loves  and  honors 
as  a  father.  Sachs  is  a  widower,  but  he  rightly 
sees  through  her  schemes,  and  resolves  to  help 
the  lovers. 

It  has  now  grown  quite  dark,  and  "Walter 
comes  to  see  Eva,  but  they  have  not  sat  long  to- 
gether when  the  sounds  of  a  lute  are  heard. 

It  is  Beckmesser  trying  to  serenade  Eva,  but 
Sachs  interrupts  him  by  singing  himself,  and 
thus  excites  Beckmesser's  wrath  and  despair. 
At  last  a  window  opens,  and  Beckmesser,  tak- 
ing Magdalene  for  Eva,  addresses  her  in  louder 
and  louder  tones,  Sachs  all  the  time  beating  the 
measure  on  a  shoe.  The  neighboring  windows 
open,  there  is  a  general  alarm,  and  David,  see- 
ing Magdalene  at  the  window  apparently  listen- 
ing to  Beckmesser,  steals  behind  this  unfortu- 
nate minstrel,  and  begins  to  slap  him.  In  the 
uproar  which  now  follows,  Walter  vainly  tries 
to  escape  from  his  refuge  under  the  lime-tree, 
but  Sachs  comes  to  his  rescue,  and  takes  him 
into  his  own  workshop,  while  he  pushes  Eva 
unseen  into  her  father's  house,  the  door  of 
which  has  just  been  opened  by  Pogner. 

In  the  third  act  we  find  Sachs  in  his  room. 
Walter  enters,  thanking  him  heartily  for  the 
night's  shelter.  Sachs  kindly  shows  him  the 
rules  of  poetry,  encouraging  him  to  try  his  luck 
once  more.     Walter  begins,  and  quite  charms 

272 


The  Master-Singers  of  Nuremberg 

Sachs  with  his  love-song.  After  they  have  left 
the  room,  Beckmesser  enters,  and  reading  the 
poetry,  which  Sachs  wrote  down,  violently 
charges  the  shoemaker  with  wooing  Eva  him- 
self. Sachs  denies  it,  and  allows  Beckmesser  to 
keep  the  paper.  The  latter,  who  has  vainly 
ransacked  his  brains  for  a  new  song,  is  full  of 
joy,  hoping  to  win  the  prize  with  it. 

When  he  is  gone,  Eva  slips  in  to  fetch  her 
shoes,  and  she  sees  Walter  stepping  out  of  his 
dormitory  in  brilliant  armor.  He  has  found  a 
third  stanza  to  his  song,  which  he  at  once  pro- 
duces. They  all  proceed  to  the  place  where  the 
festival  is  to  be  held,  and  Beckmesser  is  the  first 
to  try  his  fortunes,  which  he  does  by  singing 
the  stolen  song.  He  sadly  muddles  both  melody 
and  words,  and  being  laughed  at,  he  charges 
Sachs  with  treachery  ;  but  Sachs  quietly  denies 
the  authorship,  pushing  forward  Walter,  who 
now  sings  his  stanzas,  inspired  by  love  and 
poetry.  No  need  to  say  that  he  wins  the  hearers' 
hearts  as  he  has  won  those  of  Eva  and  Sachs, 
and  that  Pogner  does  not  deny  him  his  beloved 
daughter's  hand. 
18 


273 


The  Standard  Operaglass 
THE  MASTER-THIEF 

A.  German  Legend  in  three  parts  by  EUGEN  LINDNER 

After  Fitger's  poem  by  GUSTAV  KASTROPP   r 
and  the  composer 

The  young  composer  has  hitherto  been  little 
heard  of  by  the  public,  though  he  has  a  good 
name  in  the  musical  world,  as  he  has  already 
written  an  opera  called  "Ramiro,"  which  was 
put  on  the  stage  in  Leipsic,  and  excited  consid- 
erable controversy  among  his  admirers  and  his 
opponents.  Lindner  then  left  Leipsic  for  Wei- 
mar, where  he  studied  zealously,  and  composed 
the  above-mentioned  opera,  which  was  at  once 
accepted  on  the  small  but  celebrated  stage  of 
this  town,  and  has  now  appeared  on  the  greater 
one  of  Dresden.  This  opera  is  half  romantic, 
half  lyric,  and  does  not  lack  the  humorous 
elements.  It  abounds  in  melody,  a  great  rarity 
in  our  times,  and  the  romance  (Lied)  is  its  best 
part. 

Though  the  music  is  not  precisely  overpower- 
ing, it  is  very  sweet  and  pleasing;  one  sees  that 
a  great  talent  has  been  at  work,  if  not  a  genius. 

The  libretto  is  very  nice  on  the  whole,  in  some 
parts  even  charmingly  poetical  and  melodious. 

The  scene  is  laid  in  an  Earldom  on  the  Rhine. 

The  master-thief,  Wallfried,  a  young  noble- 
man who  ten  years  before  had  been  put  into  a 

274 


The  Master-Thief 

convent  as  younger  sou,  has  fled  from  it,  and 
has  since  then  been  the  companion  of  roving 
minstrels  and  Bohemians.  Having  heard  of  his 
eider  brother's  death,  he  comes  home  to  claim 
his  rights.  There  he  sees  Waldmuthe,  the  only 
daughter  of  Count  Berengar,  the  Seigneur  of 
the  Earldom.  As  her  features  are  as  sweet  as 
her  voice,  and  as  the  father  guards  his  treasures 
better  than  his  daughter,  Wallfried  falls  in  love 
with  her,  and  after  artfully  robbing  her  of  her 
necklace,  he  even  steals  a  kiss  from  her  rosy 
lips.  At  first  she  reproaches  him,  but  at  last 
willingly  leaves  her  ornament  in  his  hands,  which 
he  keeps  as  a  token  of  seeing  her  again. 

At  a  fair,  where  "Wallfried  for  the  last  time 
makes  merry  with  his  companions,  and  sings  to 
them  the  song  of  the  pretty  Annchen — by  the 
bye,  a  pearl  of  elegance  and  delicacy — he  sees 
Count  Berengar  and  his  daughter,  and  at  once 
reclaims  his  own  name  and  castle  as  Heir  von 
Sterneck  from  the  Seigneur.  But  Waldmuthe's 
companion,  Hertha,  sees  her  mistress'  chain  on 
"Wallfried's  neck,  and  as  our  hero  will  not  tell 
how  he  came  by  it,  he  is  considered  a  thief. 
His  friend  Marquard  now  pleads  for  him,  inti- 
mating that  he  took  the  chain  only  to  show  his 
adroitness  as  a  master-thief.  Count  Berengar, 
hearing  this,  orders  him  to  give  three  proofs  of 
his  skill.  First  he  is  to  rob  the  Count  of  his 
dearest  treasure,  which  is  guarded  by  his  sol- 

275 


The  Standard  Operaglass 

diers  and  which  then  will  be  his  own  ;  secondly 
he  is  to  steal  the  Count  himself  from  his  palace, 
and  finally  he  must  rob  the  Count  of  his  own 
personality.  Should  he  fail  in  one  of  these 
efforts,  he  is  to  be  hanged. 

These  tests  seem  to  be  very  difficult,  but 
Wallfried  promises  to  fulfil  his  task  on  the 
very  same  day. 

In  the  second  act  Wallfried  arrives  with  two 
friends  at  the  Count's  castle.  All  three  are  in 
pilgrim's  garb,  and  bring  a  beautiful  wassail- 
horn  to  the  Count  in  token  of  friendship  from 
the  Sire  of  Rodenstein.  The  sentry  and  the 
Count  consider  these  pious  guests  harmless,  and 
the  Count,  being  a  great  amateur  of  good  wine, 
drinks  and  sings  with  them,  and  soon  gets 
drunk.  The  roundelays  are  full  of  wit  and 
humor,  and  particularly  Wallfried's  song,  with 
the  charming  imitation  of  the  spinning-wheel 
in  the  orchestra,  is  of  great  effect.  At  last  one 
of  the  pilgrims  intimates  that  though  the  wine 
be  good,  they  have  drunk  a  far  better  at  the 
clergyman's  in  the  village.  This  seems  in- 
credible to  the  Count,  and  he  is  willing  to  put 
it  to  the  test.  He  goes  with  his  guests  out  of 
his  castle,  and  so  the  second  of  his  orders,  to 
steal  his  own  person,  is  already  accomplished. 

Wallfried,  however,  stays  behind  to  rob  the 
Count  of  his  most  valuable  treasure,  which  he 
deems  to  be  the  young  Countess  herself.    While 

276 


The  Master-Thief 

the  soldiers  carefully  guard  the  jewels  and  dia- 
monds in  the  tower,  Waldmuthe  steps  on  her 
balcony  and  confides  her  love  to  the  moon. 
Wallfried,  hearing  her  confession,  easily  per- 
suades her  to  follow  him,  as  she  hopes  thereby 
to  save  his  life,  and  so  the  first  condition  is  like- 
wise fulfilled. 

In  the  third  act  the  Bohemians  (Wallfried's 
companions)  have  carried  the  Count  into  the 
forest,  and  having  robbed  him  of  his  clothes, 
dress  him  in  the  clergyman's  cassock.  The 
Count,  awaking  from  his  inebriety,  is  quite 
confused.  His  misery  after  the  debauch  is  most 
funnily  and  expressively  depicted  in  the  or- 
chestration. His  confusion  increases  when  the 
Bohemians,  dressed  as  peasants,  greet  him  as 
"  Seigneur  Pastor,"  and  when  even  Benno,  the 
warden  of  Sterneck,  calls  him  by  this  name — 
for  everybody  is  in  the  plot — he  storms  and 
rages,  but  grows  the  more  troubled.  At  last 
AVallfried  makes  his  appearance  in  the  mask  of 
Count  Berengar,  speaking  of  his  presumed 
daughter  and  of  her  love.  Then  the  mists  of 
the  wine  gather  thicker  around  the  Count's  tor- 
tured brain  ;  he  repeats  Wallfried's  words,  and 
when  alone  says  aloud,  "There  goes  Count 
Berengar;  now  I  believe  myself  to  be  the  pas- 
tor." Thus,  too,  the  third  order  is  fulfilled; 
he  is  robbed  of  himself. 

Waldmuthe,  stealing  up    to   him,   roguishly 

277 


The  Standard  Operaglass 

laughing,  repeats  the  tests,  and  now  the  Count 
at  once  becomes  sober.    Of  course  he  is  in  wrath 
at  first,  and  most  unwilling  to  give  his  only 
child  to  one  who  has  passed  part  of  his  life  with 
Bohemians.     But  Waldmuthe  reminds  him  of 
his  own  youth,  how  audaciously  he  had  won  his 
wife,  her  mother,  and  how  he  had  promised  her 
to  care  for  their  daughter's  happiness.      The 
tender  father  cannot  resist  her  touching  and  in- 
sinuating appeal,  but  resolves  to  try  Wallfried's 
sincerity.     When  the  latter  reminds  him   that 
he  has  only  executed  the  Count's  own  orders, 
though  in  a  somewhat  different  sense,  Berengar 
willingly  grants  him  the  title  and  domains  of 
Sterneck,  but  refuses  his  daughter,  telling  him 
,  to  choose  instead  his  finest  jewels.     Wallfried 
haughtily  turns  from  him  to  join  his  old  com- 
rades, and  refuses   name   and   heritage,  which 
would  be  worthless  to  him  without  bis  bride. 
But  the  maiden  is  as  noble  as  her  lover;  she 
rushes  up  to  him,  ready  to  brave  her  father's 
scorn  as  well  as  the  world's  dangers.     Then  the 
Count,  persuaded  of  the  young  fellow's  noble 
heart,  folds  him  in  his  embrace,  and  readily 
gives  his  benediction  to  the  union. 


Der  Maurer 

DEE  MAURER 
(THE   MASON) 

Opera  in  three  acts  by  AUBER 
Text  by  SCRIBE 

This  charming  little  work  is  one  of  the  best 
semi-comic  operas  ever  composed;  from  the 
time  of  its  first  representation  in  Paris  until 
now  it  has  never  lacked  success. 

The  libretto  is  founded  on  a  true  anecdote, 
and  is  admirably  suited  to  the  music. 

The  scene  is  laid  in  Paris  in  the  year  1788. 

The  first  act  represents  the  merry  wedding  of 
Roger,  a  mason,  with  Henrietta,  sister  of  Bap- 
tiste,  a  locksmith.  A  jealous  old  hag,  Mistress 
Bertrand,  who  would  fain  have  married  the  nice 
young  man,  is  wondering  whence  the  poor  mason 
has  the  money  for  his  wedding,  when  suddenly 
a  young  nobleman,  Leon  de  Merinville,  ap- 
•pears,  greeting  Roger  warmly.  He  relates  to 
the  astonished  hearers  that  Roger  saved  his  life, 
but  would  not  take  any  reward,  nor  tell  his 
name.  Roger  explains  that  the  nobleman  put 
so  much  money  into  his  pocket,  that  it  enabled 
him  to  marry  his  charming  Henrietta,  but  Merin- 
ville is  determined  to  do  more  for  him.  Mean- 
while Roger  tries  to  withdraw  from  the  ball 
with  his  young  wife;    but  Henrietta  is  called 

279 


The   Standard   Operaglass 

back  by  her  relations  according  to  custom. 
Roger,  being  left  alone,  is  accosted  by  two  un- 
known men,  who,  veiling  his  eyes,  force  him  to 
follow  them  to  a  spot  unknown  to  him,  in  order 
to  do  some  mason -work  for  them.  It  is  to  the 
house  of  Abdallah,  the  Turkish  ambassador, 
that  he  is  led.  The  latter  has  heard  that  his 
mistress  Irma,  a  young  Greek  maiden,  is  about 
to  take  flight  with  a  French  officer,  who  is  no 
other  than  de  Merinville. 

The  lovers  are  warned  by  a  slave,  named 
Rica,  but  it  is  too  late;  Abdallah's  people  over- 
take and  bind  them.  They  are  brought  into  a 
cavern,  the  entrance  to  which  Roger  is  ordered 
to  wall  up.  There,  before  him,  he  finds  his 
friend  and  brother-in-law,  Baptiste,  who  was 
likewise  caught,  and  is  now  forced  to  help  him. 
Recognizing  in  the  officer  his  benefactor, 
Roger  revives  hope  in  him  by  singing  a  song 
which  Leon  heard  him  sing  at  the  time  he 
saved  his  life. 

Meanwhile,  Henrietta  has  passed  a  dreadful- 
night,  not  being  able  to  account  for  her  hus- 
band's absence.  In  the  morning  Mistress  Ber- 
trand  succeeds  in  exciting  the  young  wife's  sor- 
row and  jealousy  to  a  shocking  degree,  so  that 
when  Roger  at  last  appears,  she  receives  him 
with  a  volley  of  reproaches  and  questions. 

Roger,  unhappy  about  Merinville's  fate  and 
ignorant  of  where  he  has  been  in  the   night, 

280 


Melusine 

scarcely  listens  to  his  wife's  complaints,  until 
Henrietta  remarks  that  she  well  knows  where 
he  has  been,  Mistress  Bertrand  having  recog- 
nized the  carriage  of  the  Turkish  ambassador, 
in  which  he  was  wheeled  away. 

This  brings  light  into  Eoger's  brain,  and 
without  more  ado  he  rushes  to  the  police,  with 
whose  help  the  poor  prisoners  are  delivered. 
Roger  returns  with  Merinville  to  his  wife's 
house,  where  things  are  cleared  up  in  the  most 
satisfactory  manner. 


MELUSINE 

Romantic  Opera  in  three  acts  by  CARL  GRAMMANN 

Text  after  C.  CAMP'S  poem  of  the  same  name 

Tableaux  and  mise  en  scene  after  SCHWIND'S  composition 

The  composer  of  this  opera  is  known  in  the 
musical  world  as  the  author  of  many  other  fine 
works.  He  has  given  us  several  operas  worthy 
of  mention,  "St.  Andrew's  Night"  and 
"Thusnelda"  among  others,  which  were 
brought  on  the  stage  in  Dresden  some  years 
ago. 

Melusine  was  first  represented  in  Wiesbaden 
in  1874  with  but  small  success.  Since  then 
the  opera  has  been  rewritten,  and  in  part  com- 
pletely changed  by  the  author,  and  in  this  new 

281 


The  Standard  Operaglass 

garb  has  found  its  first  representation   in   the 
Dresden  Opera  House,  on  May  23,  1891. 

Neither    music    nor    libretto    is    strikingly 
original;     both    remind    vividly    of    Wagner. 
Nevertheless   the    opera    met   with   warm    ap- 
plause, the  principal  part  being  splendidly  ren- 
dered in  Teresa  Mai  ten,  and  the  mise  en  scene 
justifying     the     highest     expectations.  _     The 
beauty  of  the  music  lies  principally  in  its  col- 
oring, which  is  often  very  fine.     Its  best  parts 
are  the  tender  songs  of  the  nymphs,  those  parts 
which  lead  into    the   realm   of    dream  and  of 
fairy-land.     Once  only  it  soars  to  a  higher  dra- 
matic style;  it  is  in  the  second  act   (the  one 
which  has  undergone  an  entire  revision),  when 
Bertram,  the  natural  son,  bewails  his  father. 

On  the  whole  the  weak  libretto  forbids  every 
deeper  impression.  It  is  neither  natural  nor 
dramatic,  and  leaves  our  innermost  feelings  as 
cold    as    the    watery   element  from   which    it 

springs. 

The  scene  is  laid  in  a  French  Department  on 
the  Upper  Rhine,  where  a  Duchy  of  Lusignan 
can  never  have  existed,  about  the  time  of  the 
first  Crusade.  The  first  act  shows  a  forest, 
peopled  by  water-nymphs  and  fairies,  who  enjoy 
their  dances  in  the  light  of  the  full  moon.  Me- 
lusine,  their  princess,  emerges  from  her  grotto. 
While  they  sing  and  dance,  a  hunter's  bugle  is 
heard,  and  Count  Raymond  of  Lusignan  appear* 

283 


Melusine 

with  Bertram,  his  half-brother,  seeking  anx- 
iously for  their  father.  Both  search  on  opposite 
sides;  Bertram  disappears,  while  Raymond, 
hearing  a  lond  outcry  for  help,  rushes  into  the 
bushes  whence  it  comes,  not  heeding  Melusine's 
warning,  who  watches  the  proceedings  half  hid- 
den in  her  grotto.  The  nymphs,  foreseeing 
what  is  going  to  happen,  break  out  into  lamen- 
tations, while  Melusine  sings  an  old  tale  of  the 
bloody  strife  of  two  brothers.  She  is  already 
in  love  with  Raymond,  whose  misfortune  she 
bewails.  "When  he  hurries  back  in  wild  despair 
at  having  slain  his  father,  whose  life  he  tried  to 
save  from  the  tusks  of  a  wild,  boar — his  sword 
piercing  the  old  man  instead  of  the  beast  (a 
deed  decreed  by  fate) — he  finds  the  lovely 
nymph  ready  to  console  him.  She  presents 
him  with  a  draught  from  the  magic  well,  which 
instantly  brings  him  forgetfulness  of  the  past 
(compare  Xibehmg's-ring).  The  Count  drinks 
it,  and  immediately  glowing  with  love  for  the 
beautiful  maiden,  wooes  her  as  his  wife.  Me- 
lusine consents  to  the  union  under  the  condition 
that  he  pledges  himself  by  a  solemn  oath  never 
to  blame  her,  nor  to  spy  her  out  should  she  leave 
him  in  the  full-moon  nights.  Raymond  prom- 
ises, and  the  sun  having  risen,  the  hunters  find 
him  in  his  bride's  company.  He  presents  their 
future  mistress  to  them,  and  all  render  homage; 
only  Bertram,  struck  to  the  heart  by  Melusine's 

283 


The  Standard  Operaglass 

loveliness,  which  is  not  for  him,  stands  scorn- 
fully aside. 

The  first  scene  of  the  second  act  represents 
the  sepulchral  crypt  of  the  Lusignan  family. 
The  old  Duke  has  been  found  dead  in  the  for- 
est, and  a  choir  of  monks  sings  the  Requiem. 
Bertram's  mournful  song  and  the  lament  of  the 
women  are  of  surpassing  beauty;  also  the  con- 
trasting sounds  from  merry  music  of  Eaymond's 
wedding  procession,  now  and  then  heard,  cause 
an  excellent  musical  effect.      A  hermit,  Peter 
von  Amiens,  now  entering,  comforts  the  wid- 
owed Duchess  and  warns  them  all  of  Melusine. 
He  relates  the  legend  of  the  water-fairy,  who 
with  sweet  voice  and  mien  entices  and  seduces 
human  beings.      The    poor    mother  implores 
Heaven  to  save  her  son,  while  Bertram  invokes 
Hell  to  avenge  his  father  on  the  murderer. 

The  scene  changes  into  the  park  belonging  to 
Raymond's  palace.  Raymond  and  Melusine 
enjoy  their  nuptial  bliss,  until  the  rising  of  the 
full-moon  awakes  in  Melusine  the  irresistible 
longing  for  her  native  element.  Notwithstand- 
ing her  husband's  entreaties,  she  tears  herself 
from  him,  and  Raymond,  mindful  of  his  oath, 
retires.  But  Melusine's  steps  are  interrupted 
by  Bertram,  who  has  tracked  her,  and  now  de- 
clares his  love.  She  scornfully  rejects  him,  and 
he,  enraged  and  jealous,  threatens  to  betray 
Raymond,  whose  bloody  sword  he  has  found  at 

284 


Melusine 

the  spot  where  their  father  was  murdered.  But 
Melusine  escapes  to  the  gray  temple  in  the  gar- 
den, and  she  prophesies  that  Raymond  will  be 
happy  as  long  as  he  keeps  her  faith,  and  then 
vanishes  into  the  interior.  Bertram  remains 
motionless  and  stunned,  until  he  hears  Ray- 
mond's voice,  who  is  waiting  for  his  wife. 
Spurred  by  every  evil  feeling  of  hate  and  envy, 
he  peremptorily  asks  Raymond  to  surrender  all 
his  possessions,  his  wife  Melusine,  even  his  life, 
deeming  that  his  brother  has  forfeited  every 
right  through  the  murder.  But  Raymond, 
oblivious  of  the  deed  through  the  effect  of  the 
magic  draught,  draws  his  sword,  when  his 
mother  interferes.  The  Duchess  repeats  to  her 
son  the  suspicion  expressed  by  the  hermit  in  re- 
gard to  Melusine,  and  Raymond  anxiously  calls 
for  her  to  refute  the  accusation.  But  instead 
of  his  Avife,  sweet  songs  are  heard  from  the  tem- 
ple ;  he  forgets  his  oath,  spies  into  its  interior 
through  a  cleft,  and  perceives  the  place  of  the 
nixies,  with  Melusine  in  their  midst.  Recog- 
nizing his  fate,  Raymond  sinks  back  with  a  de- 
spairing cry. 

In  the  third  act  the  fishermen  and  women  as- 
semble on  the  banks  of  the  Rhine  at  day-break, 
preparing  for  their  daily  work.  They  also 
know  the  Count's  wife  to  be  a  mermaid,  and 
they  sing  a  ballad  of  the  water-nymph.  Sud- 
denly Melusine  appears,  and  they  take  flight. 

285 


The  Standard  Operaglass 

Melusine,  finding  the  gates  of  her  husband's 
castle  closed,  vainly  calls  for  him.     His  mother 
answers  in  his  stead,  charging  her  with  witch- 
craft, and  refusing  to  admit  her.      Melusine, 
sure  of  Kaymond's  love,  undauntedly  answers 
that  only  Kaymond's  want  of  faith  could  undo 
her.     In  the  meantime  a  herald  announces  the 
arrival  of  Crusaders  with  Peter  von  Amiens. 
The  latter  exhorts  Count  Raymond  to  join  the 
holy  army  in  order  to  expiate  his  father's  mur- 
der.    Raymond  is  willing  to  go,  when  Melusine 
entreats  him  not  to  leave  her.     All  present  press 
around  to  insult  her,  only  Bertram  steps  forth 
as  her  protector,  once  more  showing  Raymond's 
bloody  sword,  an  act  which  she  alone  under- 
stands.    She  kneels  to  him  in  order  to  save  her 
husband,  but  Raymond,  misunderstanding  her 
movements,  accuses   her   of   secret   intercourse 
with  Bertram,  and  in  a  fit  of  jealousy  disowns 
her.     Scarcely  have  the  luckless  words .  escaped 
his   lips,  than  a  violent   sound   of   thunder   is 
heard.     Melusine  curses  the  palace,  and  throws 
her  husband's  ring  at  his  feet.     She  disappears 
in  the  Rhine,  Bertram  leaping  after  her  ;  the 
stream  overflows  its  banks,  and  a  flash  of  light- 
ning destroys  the  castle.     Gradually  the  scene 
changes  to  the  one  of  sylvan  solitude  in  the  first 
act.    Raymond  appears  in  pilgrim's  garb  to  seek 
for  his  lost  love  (see  "  Tannhauser  ") ;  Melusine 
once  more  emerges  from  her  grotto  to  comfort 

286 


Merlin 

him,  but  also  to  bring  him  death.  Happily,  lie 
dies  in  her  embrace,  she  buries  him  under 
water-lilies,  and  returns  to  her  watery  domains. 


MERLIJST 

Opera  in  three  acts  by  CHARLES  GOLDMARK 
Text  by  SIEGFRIED  LIPINER 

This  creation  of  the  talented  composer  at 
once  proved  itself  a  success  when  produced  for 
the  first  time  in  the  Opera  House  in  Vienna. 
Since  then  it  has  quickly  passed  to  all  the  larger 
stages. 

Merlin  surpasses  the  Queen  of  Sheba  in  dra- 
matic value,  and  is  equal  to  it  in  glowing  color- 
ing and  brilliant  orchestration.  Goldmark  is 
quite  the  reverse  of  Wagner.  Though  equally 
master  of  modern  instrumentation,  he  abounds 
in  melodies.  Airs,  duets,  and  choruses  meet  us 
of  surpassing  beauty  and  sweetness.  The  text 
is  highly  fantastic,  but  interesting  and  poetical. 

King  Artus  is  attacked  by  the  Saxons  and 
almost  succumbs.  In  his  need  he  sends  Lance- 
lot to  Merlin,  an  enchanter  and  seer,  but  at 
the  same  time  the  King's  best  friend  and  a 
knight  of  his  table. 

MerlUi,  offspring  of  the  Prince  of  Hell  and  of 
a   pure   virgin,    has    power   over   the   demons, 

287 


The  Standard   Operaglass 

whom,  however,  he  only  employs  in  the  service 
of  Heaven,  his  good,  mother's  spirit  protecting 
him.  Merlin  calls  up  a  demon,  whom  he  forces 
to  blind,  the  heathen  Saxons,  so  that  the  Britons 
may  be  victorious.  The  demon  obeys  unwill- 
ingly, and  after  Merlin's  departure  he  calls  up 
the  fairy  Morgana,  who  knows  all  the  secrets  of 
the  world.  Morgana  tells  the  demon  that  if 
Merlin  loves  an  earthly  woman,  his  power  will 
be  gone,  and.  the  demon  resolves  to  tempt  Mer- 
lin with  the  most  beautiful  woman  on  earth. 
He  vanishes,  and  the  Britons  return  victorious, 
Merlin  with  prophetic  insight  recognizing  the 
knight  who  had  betrayed  his  people  to  the 
Saxons.  While  he  sings  a  passionate  chant  in 
honor  of  his  King  and  his  country,  Vivien,  a 
Duke's  daughter,  appears,  and  they  are  at  once 
attracted  to  each  other.  But  Merlin  vanquishes 
his  love,  and  refuses  to  accept  the  crown  of  oak- 
leaves  which  his  King  offers  him  by  the  hand,  of 
Vivien.  Then  Artus  takes  his  own  crown  and 
puts  it  on  Merlin's  curls. 

The  second  act  begins  Avith  a  conspiracy 
headed  by  Modred,  Artus'  nephew,  against  his 
uncle.  Lancelot  openly  accuses  him  of  trea- 
son, and  the  King  sends  to  Merlin  for  judg- 
ment. But  alas!  Merlin's  love  has  already 
blinded  his  understanding;  he  fails  to  detect 
the  culpable  Modred,  and  declares  that  he  is 
not  able  to  find  fault  in  him.     King  Artus  and 

288 


Merlin 

his  knights  depart  to  seek  new  laurels,  leaving 
the  country  in  Modred's  hands.  Merlin  stays 
in  his  sanctum,  to  where  the  demon  now  leads 
Vivien,  who  has  lost  her  way.  The  doors  of  the 
temple  open  by  themselves  at  Vivieu's  request, 
and  she  finds  a  rosy,  glittering  veil,  which, 
thrown  into  the  air,  causes  various  charming 
apparitions  to  present  themselves.  When  Mer- 
lin comes,  the  whole  charm  vanishes  into  air. 
Vivien  tells  him  of  her  delightful  adventure, 
but  Merlin,  frightened,  informs  her  that  who- 
ever is  touched  by  the  veil  will  be  in  the  power 
of  demons,  chained  to  a  rock  forever.  Love 
conquers,  and  the  short  hour  succeeding  is  for 
both  filled  with  earth's  greatest  bliss.  The 
news  of  Modred's  treachery  to  King  Artus 
awakes  Merlin  from  his  dream.  He  tears  him- 
self from  his  love,  vowing  to  shun  her  forever, 
and  to  return  to  the  well  of  grace.  But  Vivien, 
finding  all  her  prayers  vain,  throws  the  fatal 
veil  over  him  to  hinder  his  flight.  The  dread- 
ful effect  becomes  instantl}'  apparent;  the  rose- 
garden  disappears,  mighty  rocks  enclose  the 
vale  on  all  sides,  and  Merlin  is  held  down  by 
burning  chains. 

While  Vivien  is  consumed  by  self-reproach 
and  pain,  the  fairy  Morgana  appears,  telling 
her  that  love,  which  is  stronger  than  death,  can 
bring  Merlin  eternal  grace.  Vivien  is  led  away 
by  her  maid,  and  Lancelot  enters  with  the 
19  289 


The  Standard   Operaglass 

knights    to    seek    Merlin's    help    against    the 
treacherous  Modred. 

Seeing  Merlin  in  this  pitiful  state,  he  sadly 
turns  from  him,  but  Merlin  in  despair  promises 
his  soul  to  the  demon,  if  he  but  assist  to  deliver 
his  King  and  his  country.     The  demon  breaks 
the  chains,  and  Merlin  rushes  with  the  knights 
into   battle.     During   his   absence  Vivien  pre- 
pares herself  to  receive  her  hero,  but  though 
she  sees  him  return  victorious,  he  is  wounded 
to  death.     The  demon  comes  up  to  claim  his 
victim,    but   Vivien,    remembering    Morgana's 
Avords,  sacrifices  herself,  piercing  her.  heart  at 
Merlin's  feet.     The  demon  disappears,  cursing 
heaven  and  earth,  while  Artus  and  his  knights, 
though  they  sadly  mourn  for  their  hero,   yet 
praise  the  victory  of  true  love. 

THE    MERRY  WIVES   OF  WINDSOR 

Comic  Opera  in  three  acts  by  OTTO  NICOLAI 
Text  by  MOSENTHAL 

This  charming  opera  has  achieved  the  fame 
of  its  composer,  of  whom  very  little  is  known, 
except  that  he  is  the  author  of  this  really  ad- 
mirable musical  composition,  which  is  valued 
not  only  in  Germany  but  all  over  Europe.  Its 
overture  is  played  by  almost  every  orchestra, 

290 


The  Merry  Wives  of  Windsor 

and  the  choruses  and  songs  are  both  delightful 
and  original.  As  may  be  gathered  from  the 
title,  the  whole  amusing  story  is  taken  from 
Shakespeare's  comedy. 

Falstaff  has  written  love-letters  to  .the  wives 
of  two  citizens  of  Windsor,  Mrs.  Fluth  and 
Mrs.  Reich.  They  discover  his  duplicity  and 
decide  to  punish  the  infatuated  old  fool. 

Meanwhile,  Mr.  Fen  ton,  a  nice  but  poor 
young,  man,  asks  for  the  hand  of  Miss  Anna 
Reich.  But  her  father  has  already  chosen  a 
richer  suitor  for  his  daughter  in  the  person  of 
silly  Mr.  Sparlich. 

In  the  following  scene  Sir  John  Falstaff  is 
amiably  received  by  Mrs.  Fluth,  when  suddenly 
Mrs.  Reich  arrives,  telling  them  that  Mr.  Fluth 
will  be  with  them  at  once,  having  received 
notice  of  his  wife's  doings.  Falstaff  is  packed 
into  a  washing  basket  and  carried  away  from 
under  Mr.  Fluth's  nose  by  two  men,  who  are 
bidden  to  put  the  contents  in  a  canal  near  the 
Thames,  and  the  jealous  husband,  finding  no- 
body, receives  sundry  lectures  from  his  offended 
wife. 

In  the  second  act  Mr.  Fluth,  mistrusting  his 
wife,  makes  Falstaff 's  acquaintance,  under  the 
assumed  name  of  Bach,  and  is  obliged  to  hear 
an  account  of  the  worthy  Sire's  gallant  .adven- 
ture with  his  wife,  and  its  disagreeable  issue. 
Fluth  persuades  Falstaff  to  give  him  a  rendez- 

291 


The  Standard  Operaglass 

vous,  swearing  inwardly  to  punish  the  old  cox- 
comb for  his  impudence. 

In  the  evening  Miss  Anna  meets  her  lover, 
Fenton,  in  the  garden,  and.  ridiculing  her  two 
suitors,  Sparlich  and  Dr.  Caius,  a  Frenchman, 
she  promises  to  remain  faithful  to  her  love. 
The  two  others,  who  are  hidden  behind  some 
trees,  must  perforce  listen  to  their  own  dis- 
praise. 

When  the  time  has  come  for  Falstaff's  next 
visit  to  Mrs.  Fluth,  who  of  course  knows  of  her 
husband's  renewed  suspicion,  Mr.  Fluth  sur- 
prises his  wife  and  reproaches  her  violently  with 
her  conduct.  During  this  controversy  Fal- 
staff  is  disguised  as  an  old  woman,  and  when  the 
neighbors  come  to  help  the  husband  in  his 
search  they  find  only  an  old  deaf  cousin  of 
Mrs.  Fluth 's  who  has  come  from  the  country  to 
visit  her.  Nevertheless  the  hag  gets  a  good 
thrashing  from  the  duped  and  angry  husband. 

In  the  last  act  everybody  is  in  the  forest,  pre- 
paring for  the  festival  of  Heme  the  Hunter. 
All  are  masked,  and  Sir  John  Falstaff,  being 
led  on  by  the  two  merry  wives,  is  surprised  by 
Heme  (Fluth),  who  sends  the  whole  chorus  of 
wasps,  flies,  and  mosquitoes  onto  his  broad  back. 
They  torment  and  punish  him  till  he  loudly 
cries  for  mercy.  Fenton,  in  the  mask  of  Oberon, 
has  found  his  Anna  in  Queen  Titania,  while 
Dr.  Caius  and  Sparlich,  mistaking  their  masks 

292 


Mignon 

for  Anna's,  sink  into  each  other's  arms,  much 
to  their  mutual  discomfiture. 

Mr.  Fluth  and  Mr.  Keich,  seeing  that  their 
wives  are  innocent  and  that  they  only  made  fun 
of  Falstaff,  are  quite  happy,  and  the  whole 
scene  ends  with  a  general  pardon. 


MIGNON 

Opera  in  three  acts  by  AMBROISE  THOMAS 
Text  by  MICHEL  CARRE  and  JULES  BARBIER 

This  opera  is  full  of  French  grace  and  viva- 
city, and  has  been  favorably  received  in  Ger- 
many. The  authors  have  used  for  their  libretto 
Goethe's  celebrated  novel,  "  Wilhelm  Meister," 
with  its  typical  figure,  Mignon,  as  heroine, 
though  very  much  altered. 

The  first  two  acts  take  place  in  Germany. 

Lothario,  a  half-demented  old  man,  poorly 
clad  as  a  wandering  minstrel,  seeks  his  lost 
daughter,  Sperata.  Mignon  comes  with  a  band 
of  gipsies,  who  abuse  her  because  she  refuses  to 
dance.  Lothario  advances  to  protect  her,  but 
Jarno,  the  chief  of  the  troop,  only  scorns  him, 
until  a  student,  Wilhelm  Meister,  steps  forth 
and  rescues  her,  a  young  actress  named  Philine 
compensating  the  gipsy  for  his  loss  by  giving 
him  all  her  loose  cash.     Mignon,  grateful  for 

2Q3 


The  Standard  Operaglass 

the  rescue,  falls  in  love  with  Wilhelm  and  wants 
to  follow  and  serve  him,  but  the  young  man, 
though  delighted  with  her  loveliness  and  hu- 
mility, is  not  aware  of  her  love.  Nevertheless 
he  takes  her  with  him.  He  is  of  good  family, 
but  by  a  whim  just  now  stays  with  a  troop  of 
comedians,  to  whom  he  takes  his  protegee. 
The  coquette  Philine  loves  Wilhelm,  and  has 
completely  enthralled  him  by  her  arts  and 
graces.  She  awakes  bitter  jealousy  in  Mignou, 
who  tries  to  drown  herself,  but  is  hindered  by 
the  sweet  strains  of  Lothario's  harp,  which  ap- 
peal to  the  nobler  feelings  of  her  nature.  The 
latter  always  keeps  near  her,  watching  over  the 
lovely  child.  He  instinctively  feels  himself  at- 
tracted towards  her;  she  recalls  his  lost  daugh- 
ter to  him,  and  he  sees  her  as  abandoned  and 
lonely  as  himself.  Mignon,  hearing  how  cele- 
brated Philine  is,  wishes  that  the  palace  within 
which  Philine  plays  might  be  struck  by  light- 
ning, and  Lothario  at  once  executes  her  wish  by 
setting  the  house  on  fire. 

While  the  guests  rush  into  the  garden,  Philine 
orders  Mignon  to  fetch  her  nosegay,  the  same 
flowers  which  the  thoughtless  youth  offered  to 
his  mistress  Philine.  Mignon,  reproaching  her- 
self for  her  sinful  wish,  at  once  flies  into  the 
burning  house,  and  only  afterward  does  her 
friend  Laertes  perceive  that  the  theatre  has 
caught   fire   too.       Everybody   thinks   Mignon 

294 


Mignon 

lost,  but  Wilhelm,  rushing  into  the  flames,  is 
happy  enough  to  rescue  her. 

The  third  act  carries  us  to  Italy,  where  the 
sick  Mignon  has  been  brought.  Wilhelm,  hav- 
ing discovered  her  love,  which  she  reveals  in 
her  delirium,  vows  to  live  only  for  her.  Lothario, 
no  longer  a  minstrel,  receives  them  as  the  owner 
of  the  palace,  from  which  he  had  been  absent 
since  the  loss  of  his  daughter.  While  he  shows 
Mignon  the  relics  of  the  past,  a  scarf  and  a 
bracelet  of  corals  are  suddenly  recognized  by 
her.  She  begins  to  remember  her  infantine 
prayers,  she  recognizes  the  hall  with  the  marble 
statues  and  her  mother's  picture  on  the  wall. 
With  rapture  Lothario  embraces  his  long-lost 
Sperata.  But  Mignon's  jealous  love  has  found 
out  that  Philine  followed  her,  and  she  knows 
no  peace  until  Wilhelm  has  proved  to  her  satis- 
faction that  he  loves  her  best. 

At  last  Philine  graciously  renounces  Wilhelm 
and  tarns  to  Friedrich,  one  of  her  many  adorers, 
whom  to  his  own  great  surprise  she  designates 
as  her  future  husband.  Mignon  at  last  openly 
avows  her  passion  for  Wilhelm.  The  people, 
hearing  of  the  arrival  of  their  master,  the  Mar- 
quis of  Cypriani,  alias  Lothario,  come  to  greet 
him  with  loud  acclamations  of  joy,  which  grow 
still  louder  when  he  presents  to  them  his  daugh- 
ter Sperata,  and  Wilhelm,  her  chosen  husband. 


295 


The  Standard   Operaglass 
LA  MTTETTE  DE   PORTICI 

Grand  historical  Opera  in  five  acts  by  AUBER 
Text  by  SCRIBE 

This  opera  was  first  put  on  the  stage  in  the 
G-rand  Opera  House  at  Paris  in  the  year  1828, 
and  achieved  for  its  author  universal  celebrity, 
not  only  because  in  it  Auber  rises  to  heights 
which  he  never  reached  either  before  or  after, 
but  because  it  is  purely  historical.  The 
"  Muette  "  is  like  a  picture  which  attracts  by 
its  vivid  reproduction  of  nature.  In  the  local 
tone,  the  southern  temper,  Auber  has  succeeded 
in  masterly  fashion,  and  the  text  forms  an  ad- 
mirable background  to  the  music.  Its  subject 
is  the  revolution  of  Naples  in  the  year  1647, 
and  the  rise  and  fall  of  Masaniello,  the  fisher- 
man King. 

In  the  first  act  we  witness  the  wedding  of  Al- 
fonso, son  of  the  Viceroy  of  Naples,  with  the 
Spanish  Princess  Elvira.  Alfonso,  who  has 
seduced  Fenella,  the  Neapolitan  Masaniello's 
dumb  sister,  and  abandoned  her,  is  tormented 
by  doubts  and  remorse,  fearing  that  she  has 
committed  suicide.  During  the  festival  Eenella 
rushes  in  to  seek  protection  from  the  Viceroy, 
who  has  kept  her  a  prisoner  for  the  past  month. 
She  has  escaped  from  her  prison  and  narrates 

296 


La  Muette  de   Portici 

the  story  of  her  seduction  by  gestures,  showing 
a  6carf  which  her  lover  gave  her.  Elvira  prom- 
ises to  protect  her,  and.  proceeds  to  the  altar, 
Fenella  vainly  trying  to  follow.  In  the  chapel 
Fenella  recoguizes  her  seducer  in  the  bride- 
groom of  the  Priucess.  When  the  newly  mar- 
ried couple  come  out  of  the  church,  Elvira  pre- 
sents Fenella  to  her  husband,  and  discovers 
from  the  dumb  girl's  gestures  that  he  was  her 
faithless  lover.  Fenella  flies,  leaving  Alfonso 
and  Elvira  in  sorrow  and  despair. 

In  the  second  act  the  fishermen,  who  have  been 
brooding  in  silence  over  the  tyranny  of  their 
foes,  begin  to  assemble.  Pietro,  Masaniello's 
friend,  has  sought  for  Fenella  in  vain,  but  at 
length  she  appears  of  her  own  accord  and  con- 
fesses her  wrongs.  Masaniello  is  infuriated,  and 
swears  to  have  revenge,  but  Fenella,  who  still 
loves  Al  f onso,  d  oes  not  mention  his  name.  Then 
Masaniello  calls  the  fishermen  to  arms,  and  they 
swear  perdition  to  the  enemy  of  their  country. 

In  the  third  act  we  find  ourselves  in  the 
market  place  in  Xaples,  where  the  people  go  to 
and  fro,  selling  and  buying,  all  the  while  con- 
cealing their  purpose  under  a  show  of  merri- 
ment and  carelessness.  Selva,  the  officer  of  the 
Viceroy's  body-guard,  from  whom  Fenella  has 
escaped,  discovers  her,  and  the  attempt  to  rear- 
rest her  is  the  sign  for  a  general  revolt,  in  which 
the  people  are  victorious. 

297 


The  Standard  Operaglass 

In  the  fourth  act  Fenella  comes  to  her  broth- 
er's dwelling  and  describes  the  horrors  which 
are  taking  place  in  the  town.  The  relation 
fills  his  noble  soul  with  sorrow  and  disgust. 
When  Fenella  has  retired  to  rest,  Pietro  enters 
with  comrades  and  tries  to  excite  Masaniello  to 
further  deeds,  but  he  only  wants  liberty  and 
shrinks  from  murder  and  cruelties. 

They  tell  him  that  Alfonso  has  escaped,  and 
that  they  are  resolved  to  overtake  and  kill  him. 
Fenella,  who  hears  all,  decides  to  save  her  lover. 
At  this  moment  Alfonso  begs  at  her  door  for  a 
hiding  place.  He  enters  with  Elvira,  and  Fe- 
nella, though  at  first  disposed  to  avenge  herself 
on  her  rival,  pardons  her  for  Alfonso's  sake. 
Masaniello,  reentering,  assures  the  strangers  of 
his  protection,  and  even  when  Pietro  denounces 
Alfonso  as  the  Viceroy's  son  he  holds  his  prom- 
ise sacred.  Pietro,  with  his  fellow-conspirators, 
leaves  him  full  of  rage  and  hatred. 

Meanwhile  the  magistrate  of  the  city  presents 
Masaniello  with  the  royal  crown,  and  he  is  pro- 
claimed King  of  Naples. 

In  the  fifth  act  we  find  Pietro,  with  the  other 
fishermen,  before  the  Viceroy's  palace.  He  con- 
fides to  Moreuo  that  he  has  administered  poison 
to  Masaniello  in  order  to  punish  him  for  his 
treason,  and  that  the  King  of  one  day  will  soon 
die.  While  he  speaks,  Borella  rushes  in  to  tell 
of  a  fresh  troop  of  soldiers  marching  against 

298 


Nacht lager  von   Granada 

the  people,  with  Alfonso  tit  their  head.  Know- 
ing that  Masauiello  alone  can  save  them,  the 
fishermen  entreat  him  to  take  the  command  of 
them  once  more,  and  Masaniello,  though  deadly 
ill  and  half  bereft  of  his  reason,  complies  with 
their  request.  The  combat  takes'  place  while 
an  eruption  of  Vesuvius  is  going  on.  Masaniello 
falls  in  the  act  of  saving  Elvira's  life.  On  hear- 
ing these  terrible  tidings,  Fenella  rushes  to  the 
terrace,  from  which  she  leaps  into  the  abyss  be- 
neath, while  the  fugitive  noblemen  again  take 
possession  of  the  city. 


NACHTLAGEE  YON   GRANADA 
(A    NIGHT'S   CAMP  AT   GRANADA) 

Romantic  Opera  in  two  acts  by 
CONRADIN  KREUTZER 

Text  taken  from  Kind's  Drama  of  the  same  name  by 
Freiherr  K.  VOX  BRONN 

This  little  opera,  which  literally  overflows 
with  charming  songs  and  true  German  melody, 
has  never  passed  the  bounds  of  the  country 
which  gave  it  birth,  for  notwithstanding  its 
beauties,  which  endear  it  to  the  German  people, 
it  lacks  dramatic  life  and  action.  But  in  Ger- 
many  its   melodies   have   penetrated   into   the 

299 


The  Standard   Operaglass 

hearts  of  the  people,  and  will  never  be  taken 
thence. 

The  tale  is  very  simple,  and  treats  of  Spanish 
life  in  the  middle  of  the  sixteenth  century. 

The  Crown  Prince  of  Spain  has  strayed  from 
his  train,  and,  disguised  as  a  simple  hunter,  has 
found  some  shepherds,- who  grant  him  a  night's 
rest  in  an  old  castle.  He  excites  their  jealousy, 
however,  by  kissing  the  pretty  shepherdess  Ga- 
briela,  and  they  resolve  to  kill  and  rob  him. 
Gabriela  has  two  suitors,  the  kind  shepherd 
Gomez,  whom  she  loves,  and  Vasco,  a  wild 
youngster,  who  calls  her  his  bride  against  her 
wish  and  will.  In  her  distress  she  turns  to  the 
hunter,  who  promises  to  apply  to  the  Crown 
Prince  on  her  and  her  lover's  behalf. 

Gabriela,  hearing  of  the  plot  against  the 
hunter,  becomes  his  guardian  angel,  for  just  as 
the  Prince  is  about  to  succumb  to  the  ruffians 
she  brings  on  his  followers,  who  have  been 
found  out  by  her  lover,  Gomez.  The  robbers 
are  punished,  and  Gabriela,  being  allowed  to 
ask  for  a  boon,  begs  to  be  united  to  Gomez. 
The  Crown  Prince  himself  joins  their  hands, 
granting  them  rich  presents,  and  takes  leave  of 
the  peasants  amid  loud  acclamations  and  bene- 
dictions. 


300 


Norma 


NOKMA 

Tragic  Opera  in  two  acts  by  BELLINI 
Text  by  ROMANI 

Few  operas  can  boast  of  as  good  and  effective 
a  libretto  as  that  which  Romani  wrote  for  Bel- 
lini's "  Norma."  He  took  his  subject  from  a 
French  tragedy,  and  wrote  it  in  beautiful  Italian 
verse. 

With  this  work  Bellini  won  his  fame  and 
crowned  his  successes.  Again  it  is  richness  of 
melody  in  which  Bellini  excels — highly  finished 
dramatic  art  and  lofty  style  he  does  not  possess 
— and  it  is  this  very  richness  of  melodv  which 
makes  him,  and  specially  his  "  Norma,"'  such  a 
favorite  in  all  theatres.  His  music  is  also  par- 
ticularly well  suited  to  the  human  voice,  and 
Norma  was  always  one  of  the  most  brilliant 
parts  of  our  first  dramatic  singers. 

The  story  is  as  follows: 

Norma,  daughter  of  Orovist,  chief  of  the 
Druids,  and  High  Priestess  herself,  has  broken 
her  vows  and  secretly  married  Pollio,  the  Roman 
Proconsul.  They  have  two  children.  But 
Pollio's  love  has  vanished.  In  the  first  act  he 
confides  to  his  companion,  Flavius,  that  he  is 
enamored  of  Adalgisa,  a  young  priestess  in  the 
temple  of  Irminsul,  the  Druids'  god, 

301 


LIBRARY 
•TATE  TEACHER* 
fANTA   BARBl   -  ■ 


The  Standard  Operaglass 

Norma,  whose  secret  nobody  knows  but  her 
friend  Clothilde,  is  worshipped  by  the  people, 
being  the  only  one  able  to  interpret  the  oracles 
of  their  god.  She  prophesies  Rome's  fall,  which 
she  declares  will  be  brought  about,  not  by  the 
prowess  of  Gallic  warriors,  but  by  its  own  weak- 
ness. She  sends  away  the  people  to  invoke 
alone  the  benediction  of  the  god.  When  she 
also  is  gone,  Adalgisa  appears,  and  is  persuaded 
by  Pollio  to  fly  with  him  to  Rome.  But  re- 
morse and  fear  induce  her  to  confess  her  sinful 
love  to  Norma,  whom  she,  like  the  others,  adores. 
Norma,  however,  seeing  the  resemblance  to  her 
own  fate,  promises  to  release  her  from  her  vows 
and  give  her  back  to  the  world  and  to  happi- 
ness ;  but  hearing  from  Adalgisa  the  name  of 
her  lover,  who,  as  it  happens,  just  then  ap- 
proaches, she  of  course  reviles  the  traitor,  tell- 
ing the  poor  young  maiden  that  Pollio  is  her 
own  spouse.  The  latter  defies  her,  but  she  bids 
him  leave.  Though  as  he  goes  he  begs  Adalgisa 
to  follow  him,  the  young  priestess  turns  from 
the  faithless  lover,  and  craves  Norma's  pardon 
for  the  offence  of  which  she  has  unwittingly 
been  guilty. 

In  the  second  act,  Norma,  full  of  despair  at 
Pollio's  treason,  resolves  to  kill  her  sleeping  boys. 
But  they  awake,  and  the  mother's  heart  shud- 
ders as  she  thinks  of  her  purpose;  then  she  calls 
for  Clothilde  and  bids  her  fetch  Adalgisa. 

302 


Norma 

When  she  appears,  Norma  entreats  her  to  be 
a  mother  to  her  children,  and  to  take  them  to 
their  father,  Pollio,  because  she  has  determined 
to  free  herself  from  shame  and  sorrow  by  a  vol- 
untary death.  But  the  noble-hearted  Adalgisa 
will  not  hear  of  this  sacrifice,  and  promises  to 
bring  Pollio  back  to  his  first  love.  After  a 
touching  duet,  in  which  they  swear  eternal 
friendship  to  each  other,  Norma  takes  courage 
again.  Her  hopes  are  vain,  however,  for  Clo- 
thilde  enters  to  tell  her  that  Adalgisa's  prayers 
were  of  no  avail.  Norma,  distrusting  her  rival, 
calls  her  people  to  arm  against  the  Eomans,  and 
gives  orders  to  prepare  the  funeral  pile  for  the 
sacrifice.  The  victim  is  to  be  Pollio,  who  was 
captured  in  the  act  of  carrying  Adalgisa  off 
by  force.  Norma  orders  her  father  and  the 
Gauls  away,  that  she  may  speak  alone  with 
Pollio,  to  whom  she  promises  safety  if  he  will 
renounce  Adalgisa  and  return  to  her  and  to  her 
children.  But  Pollio,  whose  only  thought  is  of 
Adalgisa,  pleads  for  her  and  for  his  own  death. 
Norma,  denying  it  to  him,  calls  the  priests  of 
the  temple,  to  denounce  as  victim  a  priestess 
who,  forgetting  her  sacred  vows,  has  entertained 
a  sinful  passion  in  her  bosom  and  betrayed  the 
gods.  Then  she  firmly  tells  them  that  she  her- 
self is  this  faithless  creature,  but  to  her  father 
alone  does  she  reveal  the  existence  of  her  chil- 
dren. 

303 


The  Standard   Operaglass 

Pollio,  recognizing  the  greatness  of  her  char- 
acter, which  impels  her  to  sacrifice  her  own  life 
in  order  to  save  him  and  her  rival,  feels  his  love 
for  Norma  revive,  and  stepping  forth  from  the 
crowd  of  spectators,  he  takes  his  place  beside  her 
on  the  funeral  pile.  Both  commend  their  chil- 
dren to  Norma's  father,  Orovist,  who  finally 
pardons  the  poor  victims. 


LE  NOZZE  DI  FIGARO 

Comic  Opera  in  four  acts  by  MOZART 
Text  by  LORENZO  DA  PONTE 

This  opera  may  be  said  to  be  the  continua- 
tion of  Rossini's  "  Barbiere  di  Seviglia."  The 
text,  too,  is  taken  from  Beaumarchais's  Fi- 
garoade,  and  the  principal  persons  in  it  we  find 
to  be  old  acquaintances.  It  is  the  same  Count 
Alma  viva,  now  married  to  Rosina;  Figaro,  the 
cunning  barber,  has  entered  the  Count's  ser- 
vice, and  is  about  to  marry  Rosina's  maid,  Su- 
sanna. We  meet  among  the  others  old  Doctor 
Bartolo  and  Basilic  Even  in  the  management 
of  the  subject  and  in  the  music  we  find  some 
resemblance.  "Figaro's  wedding"  has  the 
same  character  of  gaiety;  no  storms,  very  few 
clouds;  there  prevails  throughout  an  atmos- 
sphere  of  sunshine  and  brightness.    After  "  Don 

304 


Le   Nozze  di   Figaro 

Juan,"  "Figaro  "  was  Mozart's  darling,  and  it 
shines  radiantly  in  the  crown  of  his  fame. 
There  is  no  triviality  in  it,  as  we  find  in  most 
of  the  comic  operas  of  Offenbach  and  others;  it 
is  always  noble,  as  well  as  characteristic  in  every 
part. 

The  text  may  be  paraphrased  thus: 

Count  Almaviva,  though  married  to  Eosina 
and  loving  her  ardently,  cannot  bring  himself 
to  cease  playing  the  role  of  a  gallant  cavalier; 
he  likes  pretty  women  wherever  he  finds  them, 
and  notwithstanding  his  high  moral  principles 
is  carrying  on  a  flirtation  with  Rosina's  maid, 
the  charming  Susanna.  This  does  not  hinder 
him  from  being  jealous  of  his  wife,  who  is  here 
represented  as  a  character  both  sweet  and  pas- 
sive. He  suspects  her  of  being  overfond  of  her 
Page,  Cherubino.  From  the  bystanders,  Doc- 
tor Bartolo  and  Marcellina,  we  hear  that  their 
old  hearts  have  not  yet  ceased  to  glow  at  the 
touch  of  youth  and  love;  Bartolo  would  fain 
give  his  affections  to  Susanna,  while  Marcellina 
pretends  to  have  claims  on  Figaro. 

These  are  the  materials  which  are  so  dexter- 
ously woven  into  the  complicated  plot,  and 
which  furnish  many  funny  quid  pro  quos. 

In  the  second  act  we  find  Cherubino,  the  Page, 

in  the  rooms  of  the  Countess,  who,  innocent 

and  pure  herself,  sees  in  him  only  a  child;  but 

this  youth  has  a  passionate  heart,  and  he  loves 

20  305 


The  Standard  Operaglass 

his  mistress  ardently.  Mistress  and  maid  have 
amused  themselves  with  Cherubino,  putting 
him  into  women's  dresses.  The  Count,  ren- 
dered suspicious  by  a  letter  given  to  him  by 
Basilio,  bids  his  wife  open  her  door.  The 
women,  afraid  of  his  jealousy,  detain  him  a 
while,  and  only  open  the  door  when  Cherubino 
has  got  safely  through  the  window  and  away 
over  the  flower  beds.  The  Count,  entering  full 
of  wrath,  finds  only  Susanna  with  his  wife. 
Ashamed,  of  his  suspicions,  he  asks  her  pardon 
and  swears  never  to  be  jealous  again.  All 
blame  in  the  matter  of  the  letter  is  put  on  Fi- 
garo's shoulders,  but  this  cunning  fellow  lies 
boldly,  and  the  Count  cannot  get  the  clew  to 
the  mystery.  Figaro  and  Susanna,  profiting  by 
the  occasion,  entreat  the  Count  at  last  to  con- 
sent to  their  wedding,  which  he  has  always  put 
off.  At  this  moment  the  gardener  Antonio 
enters,  complaining  of  the  spoiled  flower  beds. 
Figaro,  taking  all  upon  himself,  owns  that  he 
sprang  out  of  the  window,  having  had  an  inter- 
view with  Susanna  and  fearing  the  Count's 
anger.  All  deem  themselves  saved,  when  An- 
tonio presents  a  document  which  the  fugitive 
has  lost.  The  Count,  not  quite  convinced,  asifs 
Figaro  to  tell  him  the  contents;  but  the  latter, 
never  at  a  loss,  and  discovering  that  it  is  the 
Page's  patent,  says  that  the  document  was 
given  to  him  by  the  Page,  the  seal  having  been 

306 


Le  Nozze  di   Figaro 


B" 


forgotten.  The  Count  is  about  to  let  him  off, 
when  Bartolo  appears  with  Marcellina,  who 
claims  a  matrimonial  engagement  with  Figaro. 
Her  claim  is  favored  by  the  Count,  who  wishes 
to  see  Susanna  unmarried.  Out  of  this  strait, 
however,  they  are  delivered  by  finding  that  Fi- 
garo is  the  son  of  the  old  couple,  the  child  of 
their  early  love;  and  all  again  promises  well. 
But  the  Countess  and  Susanna  have  prepared  a 
little  punishment  for  the  jealous  husband  as 
well  as  for  the  flighty  lover. 

They  have  both  written  letters  in  which  they 
ask  the  men  to  au  interview  in  the  garden. 
Susanna's  letter  goes  to  the  Count,  Eosina's  to 
Figaro.  Under  the  wings  of  night  the  two 
women  meet  each  her  own  lover,  but  Susanna 
wears  the  Countess's  dress,  while  Eosina  has 
arrayed  herself  in  Susanna's  clothes. 

The  Countess,  not  usually .  given  to  such 
tricks,  is  very  anxious.  While  she  awaits  her 
husband,  Cherubino  approaches,  and  taking  her 
for  Susanna,  he,  like  a  little  Don  Juan  as  he  is, 
makes  love  to  her.  Hearing  the  Count's  steps, 
he  disappears.  Almaviva  caresses  the  seeming 
Susanna,  telling  her  nice  things  and  giving  her 
a  ring,  which  she  accepts.  They  are  observed 
by  the  other  couple  and  the  sly  Figaro,  who  has 
recognized  Susanna,  notwithstanding  her  dis- 
guise, denounces  the  Count  to  her,  vows  eternal 
love  and  generally  makes  his  bride  burn  with 

307 


The  Standard   Operaglass 

wrath.  In  her  anger  she  boxes  his  ears,  upon 
which  he  confesses  to  having  known  her  from 
the  first,  and  at  once  restores  her  good  humor. 

Seeing  the  Count  approach,  they  continue  to 
play  their  former  roles,  and  the  false  Countess 
makes  love  to  Figaro,  till  the  Count  accosts  her 
as  "traitress."  For  a  while  she  lets  him  suffer 
all  the  tortures  of  jealousy,  then  the  lights  ap- 
pear and  the  Count  stands  ashamed  before  his 
lovely  wife,  recognizing  his  mistake.  The  gen- 
tle Countess  forgives  him,  and  the  repenting 
husband  swears  eternal  fidelity.  He  speedily 
unites  the  lovers  Figaro  and  Susanna,  and  for- 
gives  even  the  little  Page  Cherubino. 


THE   NUREMBERG  DOLL 
(DIE   NURNBERGER   PUPPE) 

Comic  Opera  in  four  acts  by  A.  ADAM 

Text  by  LEUVEN  and  BEA.UPLAN,  translated  into  Germap 
by  ERNST  PASQUE' 

This  operette,  though  almost  buried  in  ob 
livion,  has  been  revived  by  merit  of  its  true 
comic  humor,  which  is  so  rare  uowadays.  The 
music  is  very  simple,  but  melodious  and  natural, 
and  in  Bertha's  part  offers  ample  scope  to  a 
good  songstress. 

The  scene  takes  place  in  a  toy-shop  at  Nurem- 

308 


The   Nuremberg   Doll 

berg.  Cornelius,  the  owner,  has  an  only  son, 
Benjamin,  whom  he  dearly  loves,  notwithstand- 
ing his  stupidity,  while  he  is  most  unjust  to  his 
orphan  nephew,  Ileinrich,  whom  he  keeps  like 
a  servant,  after  having  misappropriated  the 
latter's  inheritance. 

The  old  miser  wants  to  procure  a  wife  for  his 
darling,  a  wife  endowed  with  beauty  and  every 
virtue,  and  as  he  is  persuaded  that  such  a  para- 
gon does  not  exist  in  life,  he  has  constructed  a 
splendid  doll,  which  he  hopes  to  endow  with 
life  by  help  of  Doctor  Faust's  magic  book. 

He  only  awaits  a  stormy  night  for  executing 
his  design.  Meanwhile  he  enjoys  life,  and  when 
presented  to  us  is  just  going  with  Benjamin  to 
a  masked  ball,  after  sending  at  the  same  time 
his  nephew  sujrperless  to  bed.  When  they  have 
left,  Heinrich  reappears  in  the  garb  of  Mephis- 
topheles,  and  clapping  his  hands,  his  fiancee, 
Bertha,  a  poor  seamstress,  soon  enters. 

Sadly  she  tells  her  lover  that  she  is  unable  to 
go  to  the  ball,  having  given  all  her  money, 
which  she  had  meant  to  spend  on  a  dress,  to  a 
poor  starving  beggar-woman  in  the  street. 

Heinrich,  touched  by  his  love's  tender  heart, 
good-humoredly  determines  to  lay  aside  his 
mask,  in  order  to  stay  at  home  with  Bertha, 
when  suddenlv  a  bright  idea  strikes  him.  Be- 
membering  the  doll  which  his  uncle  hides  so 
carefully  in  his  closet — which  has,  however,  long 

309 


The  Standard   Operaglass 

been  spied  out  by  Heinrich — he  shows  it  to 
Bertha,  who  delightedly  slips  into  the  doll's 
beautiful  clothes,  which  fit  her  admirably. 

Unfortunately,  Cornelius  and  his  son  are  heard 
returning,  while  Bertha  is  still  absent  dressing. 
The  night  has  grown  stormy,  and  the  old  man 
deems  it  favorable  for  his  design;  so  he  at  once 
proceeds  to  open  Faust's  book  and  to  begin  the 
charm. 

Heinrich,  who  has  hardly  had  time  to  hide 
himself  in  the  chimney,  is  driven  out  by  his 
cousin's  attempts  to  light  a  fire.  He  leaps 
down  into  the  room,  and  the  terrified  couple 
take  him  for  no  other  than  the  Devil  in  person, 
Heinrich  wearing  his  mask  and  being  besides 
blackened  by  soot  from  the  chimney.  Perceiv- 
ing his  uncle's  terror,  he  profits  by  it,  and  at 
once  beginning  a  conjuration,  he  summons  the 
doll — that  is  to  say,  Bertha  in  the  doll's  dress. 
Father  and  son  are  delighted  by  her  perfor- 
mances, but  when  she  opens  her  mouth  and  re- 
veals a  very  wilful  and  wayward  character,  Cor- 
nelius is  less  charmed.  The  doll  peremptorily 
asks  for  food,  and  Mephistopheles  indicates  that 
it  is  to  be  found  in  the  kitchen.  While  the 
worthy  pair  go  to  fetch  it,  Mephistopheles, 
hastily  exchanging  words  with  his  lady-love, 
vanishes  into  his  sleeping-room. 

The  doll  now  begins  to  lead  a  dance  which 
makes  the  toymaker's  hair  stand  on  end.     She 

310 


The  Nuremberg   Doll 

first  throws  the  whole  supper  out  of  the  win- 
dow, following  it  with  plate,  crockery,  toys,  etc. 
Then,  taking  a  drum,  she  begins  to  drill  them 
like  a  regular  tambour-major,  slapping  their 
ears,  mouths,  and  cheeks  as  soon  as  they  try  to 
approach  her. 

At  last,  when  they  are  quite  worn  out,  she  flies 
into  the  closet.  But  now  the  father's  spirit  is 
roused;  he  resolves  to  destroy  his  and  the  Devil's 
work.  However,  he  is  hindered  by  Heinrich, 
who  now  makes  his  appearance,  and  seems 
greatly  astonished  at  the  uproar  and  disorder 
he  finds  in  the  middle  of  the  night.  He  only 
wants  to  gain  time  for  Bertha  to  undress  and 
then  escape. 

Eesolutely  the  old  man  walks  into  the  closet 
to  slay  the  doll.  But  he  returns  pale  and  trem- 
bling, having  destroyed  her  while  asleep,  and 
believing  to  have  seen  her  spirit  escape  through 
the  window  with  fiendish  laughter.  Yet  awed 
by  his  deed,  he  sees  Heinrich  returning,  who 
confesses  to  his  uncle  that  he  has  found  out  his 
secret  about  the  doll,  and  that,  having  acci- 
dentally broken  it,  he  has  substituted  a  young 
girl.  Cornelius,  half  dead  with  fright,  sees 
himself  already  accused  of  murder;  his  only 
salvation  seems  to  lie  in  his  nephew's  silence 
and  instant  flight.  Heinrich  is  willing  to  leave 
the  country,  provided  his  uncle  give  him  back 
his  heritage,  which  consists  of  10,000  thalers. 

311 


The  Standard   Operaglass 

After  some  vain  remonstrances,  the  old  man 
gives  him  the  gold.  Heinrich,  having  gained 
his  ends,  now  introduces  Bertha,  and  the  wicked 
old  fool  and  his  son  see  too  late  that  they  have 
been  the  dupes  of  the  clever  nephew. 


OBEKON 

Romantic  Opera  in  three  acts  by  WEBER 
English  Text  by  PLANCHE,  translated  by  TH.  HELL 

Oberon  is  Weber's  last  work.  In  the  year 
1824  he  had  the  honor  of  being  commissioned 
to  compose  this  opera  for  the  Covent  Garden 
Theatre.  He  began  at  once  to  study  English, 
but,  his  health  giving  way,  he  progressed  slowly. 
Notwithstanding  his  illness,  however,  he  worked 
on  and  finished  the  opera  in  the  year  1826.  He 
had  the  happiness  of  seeing  it  crowned  with 
success  when  he  travelled  to  London  in  Febru- 
ary of  that  year,  but  he  could  not  witness  its 
triumphs  in  Germany,  for  he  died  in  the  fol- 
lowing July. 

The  text  is  most  fantastic,  without  any  strict, 
order  of  succession  either  in  the  matter  of  time 
or  locality.  It  is  taken  from  Wieland's  fairy 
tale  of  the  same  name. 

In  the  first  act  we  find  Oberon,  the  Elfin  King, 
in  deep  melancholy,  which  no  gaiety  of  his  sub- 

312 


Oberon 

jects,  however  charming,  avails  to  remove.  He 
has  quarrelled  with  his  wife  Titania,  and  both 
have  vowed  never  to  be  reconciled  until  they 
find  a  pair  of  lovers  faithful  to  each  other  in 
all  kinds  of  adversity.  Both  long  for  the  re- 
union, but  the  constant  lovers  are  not  to  be 
found. 

Oberon's  most  devoted  servant  is  little  Puck, 
who  has  vainly  roved  over  the  world  to  find 
what  his  master  needs.  He  has,  however,  heard 
of  a  valiant  knight  in  Burgundy,  Huon,  who 
has  killed  Carloman,  the  son  of  Charlemagne,  in 
a  duel,  haviug  been  insulted  by  him.  Charle- 
magne, not  willing  to  take  his  life  for  a  deed  of 
defence,  orders  him  to  go  to  Bagdad,  to  slay  the 
favorite  sitting  to  the  left  of  the  Calif,  and  to 
wed  the  Calif's  daughter  Bezia.  Puck  resolves 
to  make  this  pair  suit  his  ends.  He  tells  Oberon 
the  above-mentioned  story,  and  by  means  of  his 
lily  sceptre  shows  Huon  and  Beza  to  him.  At 
the  same  time  these  two  behold  each  other  in  a 
vision,  so  that  when  they  awake  both  are  deeply 
in  love. 

Oberon  wakes  Huon  and  his  faithful  shield - 
bearer,  Scherasmin,  and  promises  his  help  in 
every  time  of  need.  He  presents  Huon  with  a 
rnagio  horn,  which  will  summon  him  at  any 
time;  Soherasmin  receives  a  cup  which  fills  with 
wine  of  itself.  Then  he  immediately  transports 
them  to  Bagdad. 

313 


The  Standard   Operaglass 

There  we  find  Rezia  with  her  Arabian  maid, 
Fatima.  The  Calif's  daughter  is  to  wed  Babe- 
kan, a  Persian  Prince,  but  she  has  hated  him 
ever  since  she  saw  Huon  in  her  vision.  Fatima 
has  discovered  the  arrival  of  Huon.  It  is  high 
time,  for  in  the  beginning  of  the  second  act  we 
see  the  Calif  with  Babekan,  who  wants  to  cele- 
brate the  nuptials  at  once.  Eezia  enters,  but  at 
the  same  time  Huon  advances,  recognizing  in 
Rezia  the  fair  one  of  his  dream.  He  fights,  and 
stabs  Babekan.  The  Turks  attack  him,  but 
Scherasmin  blows  the  magic  horn,  and  compels 
them  to  dance  and  laugh  until  the  fugitives 
have  escaped. 

In  the  forest  they  are  overtaken,  but  Huon 
and  Scherasmin,  who  has  come  after  his  master 
with  Fatima,  put  the  pursuers  to  flight. 

Oberon  now  appears  to  the  lovers,  and  makes 
them  promise  upon  oath  that  they  will  remain 
faithful  to  each  other  under  every  temptation. 
He  immediately  after  transports  them  to  the 
port  of  Ascalon,  from  which  they  are  to  sail 
homeward.  Oberon  now  puts  their  constancy 
to  the  proof.  Puck  conjures  up  the  nymphs 
and  the  spirits  of  the  air,  who  raise  an  awful 
tempest.  Hiion's  ship  sinks;  the  lovers  are 
shipwrecked.  While  Huon  seeks  for  help, 
Rezia  is  captured  by  the  pirates,  and  Huon,  re- 
turning to  save  her,  is  wounded  and  left  sense- 
Jess  on  the  beach.     Oberon  now  causes  him  to 

314 


Oberon 

fall  into  a  magic  sleep,  which  is  to  last  seven 
days. 

In  the  third  act  we  find  Scherasmin  and  his 
bride,  Fatima,  in  Tunis,  dressed  as  poor  gar- 
deners. 

A  corsair  has  saved  the  shipwrecked  and  sold 
them  as  slaves  to  the  Emir  of  Tunis.  Though 
poor  and  in  captivity  they  do  not  lose  courage, 
and  are  happy  that  they  are  permitted  to  bear 
their  hard  lot  together. 

Meanwhile  the  seven  days  of  Hiion's  sleep 
have  passed.  Awaking,  he  finds  himself,  to  his 
astonishment,  in  Tunis,  in  the  Emir's  garden, 
with  his  servant  beside  him,  who  is  not  less  as- 
tonished at  finding  his  master. 

Fatima,  coming  back,  relates  that  she  has 
discovered  Rezia  in  the  Emir's  harem.  Huon, 
who  finds  a  nosegay  with  a  message  which  bids 
him  come  to  the  myrtle  bower  during  the  night, 
believes  that  it  comes  from  Eezia,  and  is  full  of 
joy  at  the  idea  of  meeting  his  bride.  Great  is 
his  terror  when  the  lady  puts  aside  her  veil 
and  he  sees  Roschina,  the  Emir's  wife.  She 
has  fallen  in  love  with  the  noble  knight,  whom 
she  saw  in  the  garden,  but  all  her  desires  are  in 
vain;  he  loathes  her,  and  is  about  to  escape, 
when  the  Emir  enters,  captures  and  sentences 
him  to  be  consumed  by  fire.  Roschina  is  to  be 
drowned.  Rezia,  hearing  of  her  lover's  fate, 
implores  the  Emir  to  pardon  him.     But  she  has 

3i5 


The  Standard  Operaglass 

already  offended  him  by  her  unwillingness  to 
listen  to  his  protestations  of  love,  and  when  he 
hears  that  Hiion  is  her  husband  he  condemns 
them  to  be  burned  together.  Their  trials,  how- 
ever, are  nearing  their  end.  Scherasmin  has 
regained  the  long-lost  horn,  by  means  of  which 
he  casts  a  spell  on  everybody,  until,  blowing  it 
with  all  his  might,  he  calls  Oberon  to  their  aid. 
The  Elfin  King  appears,  accompanied  by  Queen 
Titania,  who  is  now  happily  reconciled  to  him, 
and,  thanking  the  lovers  for  their  constancy,  he 
brings  them  safely  back  to  Paris,  where  Charle- 
magne holds  his  court.  The  Emperor's  wrath 
is  now  gone,  and  he  warmly  welcomes  Sir  Hiion 
and  his  lovely  bride,  promising  them  honor  and 
glory  for  their  future  days. 


ODYSSEUS'S  RETURN 

A  Musical  Tragedy  in  three  acts,  with  a  Prelude,  by 
AUGUST  BUNGERT 

A  musical  drama  of  the  highest  interest,  one 
which  may  be  considered  equal  to  Wagner's 
great  Nibelung  series,  has  been  created  at  last. 

"  Odysseus's  Eeturn "  is  the  third  of  four 
parts  of  a  cyclus  called  the  Odyssey,  and  its 
success  since  its  first  representation,  in  Dresden 
gn  December  12, 1896,  has  been  so  absolute  that 

316 


Odysseus's   Return 

one  may  hope  to  bear  the  other  parts  before 
long.  It  must  be  admitted  here  that  this  is  due 
partly  to  its  splendid  rendering  under  Schuch's 
genial  conductorship,  and  to  the  interpreters  of 
the  two  principal  roles  in  the  drama.  Frau 
Wittich  as  Penelope  is  the  very  incarnation  of 
womanliness  and  queenliness,  and  no  singer 
could  be  a  truer  and.  nobler  Odysseus  than  Karl 
Scheidemantel.  Whoever  had  the  advantage 
of  hearing  these  two  great  singers  in  these  roles 
must  forever  identify  them  with  the  grand 
characters  of  ancient  Greece. 

Bungert  is  happy  in  having  found  a  subject 
so  noble  and  so  sympathetic,  and  his  music  does 
full  justice  to  these  sentiments. 

The  orchestration  is  simple  in  character, 
sometimes  of  classic  naivete,  and  though  the 
composer  keeps  to  measures  without  csesuras 
(destitute  of  rhythm),  which  are  peculiar  to 
Wagner,  he  differs  from  him,  inasmuch  as  the 
orchestra  is  always  merely  the  accompaniment 
of  the  voice  and  never  drowns  it. 

All  the  characters  are  most  life-like,  and  they 
thrill  with  those  never-changing  emotions  which 
are  the  same  to-day  as  they  were  a  thousand 
years  ago. 

The  plot  treats  of  Homer's  Odyssey  with  a 
poetic  license. 

In  the  prelude,  Pallas  Athene  appears,  con- 
veying the  impression  of  a  statue,  and  forthwith 

3*7 


The  Standard   Operaglass 

producing  the  right  frame  of  mind  in  the  hearer 
by  the  original  song  of  thirty  measures,  all  in  C. 
After  her  disappearance  Penelope's  suitors  as- 
semble and  form  a  plot  to  destroy  Telemachus, 
the  queen's  son,  of  whom  they  are  afraid.  Hy- 
perion, Telemachus's  intimate  friend,  tries  to 
frustrate  their  plans,  but  in  vain.  When  left 
alone,  he  reproaches  himself  bitterly  for  his 
treachery  to  his  friend,  and  decides  to  warn 
him.  Hyperion,  too,  is  in  love  with  the  queen, 
but  he  is  at  the  same  time  deeply  attached  to 
her  noble  son,  who  at  this  juncture  is  seen  ar- 
riving in  a  vessel,  in  which  he  is  setting  out  in 
quest  of  his  father,  Odysseus.  Hyperion  en- 
treats Telemachus  to  let  him  accompany  him 
on  this  dangerous  voyage,  but  the  latter  begs 
him  to  remain  with  his  lonely  mother,  and  em- 
barks after  taking  a  tender  leave  of  Hyperion. 

Then  the  scene  changes.  The  first  act  takes 
place  in  a  bay  of  the  isle  of  Ithaca,  in  which 
Odysseus  has  landed  after  many  years  of  fruit- 
less wandering.  He  has  fallen  asleep  near  a 
grotto  which  is  the  abode  of  nymphs;  beside 
him  lie  the  gifts  of  the  Phseaces.  On  the 
heights  the  hut  of  old  Eumaeus,  Odysseus's 
steward,  is  seen.  He  sits  on  a  bench  beside  the 
aged  Laertes,  Odysseus's  father,  awaiting  his 
master.  Shepherds,  dancing  and  frolicking 
past  him,  laugh  and  mock  at  the  faithful  ser- 
vant's belief  in  Odysseus's  return. 

3*8 


Odysseus' s   Return 

By  and  by  Odysseus  half  awakes  from  the 
deep  slumber  into  which  the  gods  have  thrown 
him;  the  whole  country  seems  to  be  enveloped 
in  mist,  and  he  does  not  recognize  it,  although 
the  songs  of  the  peasants  fill  him  with  thoughts 
of  his  youth  and  his  home.  Dreamily  he  sinks 
back  on  his  couch,  while  Pallas  appears  attired 
in  beggar's  garb,  which  she  throws  off  and  is 
seen  clad  fantastically  in  the  costume  of  a  royal 
shepherdess.  She  waves  her  hand,  and  the  mist 
clears  away,  when  the  whole  country  is  seen 
bathed  in  moonlight,  and  Odysseus,  opening 
his  eyes,  recognizes  Mount  Xeritos  and  his  own 
beloved  island.  Blinded  with  tears,  he  kisses 
the  sacred  soil,  and  returns  thanks  to  the  gods, 
who  have  at  last  led  him  back  to  his  home. 

Suddenly  he  hears  Eumams's  voice,  and  find- 
ing the  beggar's  cloak,  which  the  goddess  has 
left  him,  he  wraps  himself  in  it  and  hides  his 
weapons  and  the  treasures  of  the  Pha?aces  in 
the  grotto.  Eumams  loudly  bewails  Penelope's 
fate,  and  curses  the  wicked  suitors.  At  the 
same  time  the  sound  of  oars  is  heard,  and  Tele- 
machus's  vessel  passes  by,  pursued  by  the  suit- 
ors. Eumaeus,  too  weak  to  render  aid,  contin- 
ues to  wail,  when  suddenly  Odysseus  rises  up 
before  him,  saying:  "The  gods  will  conquer." 
The  old  man,  not  recognizing  his  king,  contin- 
ues to  accuse  the  Fates,  and  tells  the  stranger 
how  badly  things  have  fared  since  the  king's 

319 


The  Standard  Operaglass 

absence.  "  And  Penelope,  my  friend  ?  "  asks 
Odyssens.  "  Penelope  is  faithful,"  answers  the 
servant.  "  Then  be  it  known  to  you,  friend, 
that  Odysseus  will  return,"  quoth  the  stranger. 
Struck  by  a  dim  foreboding  of  the  truth, 
Eumaeus  promises  to  lead  the  stranger  into  the 
queen's  palace  this  very  night. 

While  they  converse,  Telemachus  calls  upon 
Eumaeus  for  help,  and  when  the  vessels  come 
into  siglit  the  prince  is  seen  fighting  against 
his  pursuers.  He  slays  one  of  them,  but  their 
number  far  exceeds  that  of  his  own  followers. 
Odysseus,  who  has  vainly  looked  for  the  boat 
which  the  suitors  have  stolen,  throws  his  club 
at  them,  and  springs  into  his  sou's  vessel  just 
in  time  to  rescue  the  lad,  whose  sword  has  been 
broken,  but  who  continues  to  fight,  nothing 
daunted.  Odysseus  kills  some  of  his  foes  and 
pushes  their  vessel  far  off,  after  which  they 
escape,  while  the  father  carries  his  fainting  son 
on  shore.  At  this  moment  Eumaeus  recognizes 
his  mighty  guest.  Telemachus,  still  half  un- 
conscious, calls  for  another  sword.  When  he 
at  last  opens  his  eyes  he  stares  in  wonder  at  the 
mysterious  stranger,  whom  he  deems  a  god  in 
beggar's  garb.  Eumaeus  informs  him  that  the 
stranger  brings  news  of  their  long-lost  king, 
which  fills  the  son's  heart  with  joy.  At  this 
point  the  low  songs  of  the  nymphs  are  heard, 
welcoming  the  hero  to  Ithaca,  while  Laertes, 

320 


Odysseus's   Return 

slowly  descending  from  the  heights,  prophesies 
Odysseus's  return  as  one  in  a  dream.  Odysseus 
can  hardly  restrain  his  tears  at  seeing  his  father 
looking  so  old  and  so  woebegone.  He  meets 
him  humbly,  and  all  their  voices  mingle  in  a 
chorus  of  triumph  and  welcome,  while  Odysseus, 
stepping  forward,  vows  that  he  will  annihilate 
the  suitors. 

The  second  act  opens  in  Penelope's  room. 

She  sits  at  her  loom,  looking  out  over  the  far- 
stretching  sea,  and  bewailing  her  lot.  Behind 
the  scene  the  evoes  and  drunken  cries  of  the 
suitors  are  heard,  and  with  bitter  tears  she  prays 
to  the  gods  to  help  her  and  to  protect  her  son, 
whom  she  knows  to  be  on  the  treacherous 
waves.  Suddenly  Hyperion  rushes  in,  and,  pros- 
trating himself  at  her  feet,  offers  her  a  bunch  of 
orange  blossoms,  and  pays  homage  to  her  in  sen- 
timental, poetic  language.  Penelope  quietly 
congratulates  him  on  having  escaped  from  the 
nets  of  his  paramour,  Despoina;  and  the  lover, 
taking  this  as  a  favorable  sign,  breaks  out  into 
passionate  words,  but  is  at  once  checked  by  the 
queen.  He  then  reveals  to  her  the  shameful 
plot  of  the  suitors,  and  Penelope  becomes 
speechless  with  horror.  Before  she  recovers  her 
self-possession  the  suitors  rush  into  the  apart- 
ment, insolently  reminding  her  of  her  promise 
to  choose  one  of  them  as  soon  as  the  garment 
which  she  has  been  weaving  for  so  many  years 
21  321 


The   Standard   Operaglass 

for  Laertes  shall  be  completed,  and  wildly  up- 
braiding her  with  undoing  her  work  during  the 
night.  Penelope  tries  to  hold  them  in  check, 
but  they  only  grow  more  shameless,  and  at  last 
Antinous  tries  to  embrace  her.  Quick  as 
thought  she  draws  her  dagger,  and  when  it  is 
wrenched,  from  her  she  snatches  his  own  sword 
and  directs  it  against  him.  But  Eurymachus, 
another  suitor,  comes  forward,  and  attacking 
Hyj^erion,  pierces  him  with  his  sword;  then 
turns  to  the  queen,  swearing  to  kill  Telemachus 
as  well  should  she  not  yield  to  their  demands. 
The  queen  wavers,  when  renewed  acclamations 
are  heard,  and  Telemachus  enters  with  EumEeus 
and  Odysseus,  the  latter  still  wearing  his  dis- 
guise. The  mother  rushes  forward  to  embrace 
her  son,  but  he  is  seized  by  the  suitors,  who 
peremptorily  require  the  queen's  oath.  "Save 
thy  son,  0  queen,"  says  the  stranger,  and 
Penelope  at  last  swears  to  give  her  hand  to  him 
who  shall  be  victorious  in  the  contest  held  on 
Apollo's  festival  on  the  following  day.  There- 
upon the  suitors  promise  to  protect  Telemachus, 
and  retire,  leaving  mother  and  son  together. 

Not  until  then  does  Telemachus  recognize  in 
the  prostrate  form  his  friend  Hyperion,  who, 
dying,  tells  him  that  he  has  betrayed  his  friend 
and  loved  his  mother.  Terrified  though  he  is, 
the  tender-hearted  youth  forgives  him,  and  en- 
treats his  mother  to  do  the  same.      But  the 

322 


Odysseus' s  Return 

queen  stands  as  one  turned  to  stone,  not  heed- 
ing the  stranger,  who  likewise  bids  her  say  a 
word  to  the  man  who  is  dying  for  her,  and  who 
is  now  in  his  last  moments  raving  of  his  unholy 
love.  Telemachus  at  last  seizes  his  friend's 
hand  and  closes  his  dim  eyes  with  a  kiss,  while 
the  queen,  with  a  last  despairing  cry  for  Odys- 
seus, sinks  back  senseless,  and  is  carried  away  by 
her  son  and  her  nurse,  Eurycleia.  Left  alone, 
Odysseus  remains  a  prey  to  doubt  and  jealousy. 
AYhen  Penelope,  recovering,  hears  the  news  of 
her  lost  husband,  Odysseus  promises  her  the 
speedy  return  of  the  latter,  answering  her  ex- 
cited questions  with,  "I  know  him  as  I  know 
myself."  The  queen  fears  he  will  be  too  late, 
and  when  the  stranger  insinuates  to  her  that 
the  king  will  perhaps  kill  the  suitors  whom  he 
has  discovered  in  the  queen's  apartments,  and 
cunningly  asks  whether  she  wants  their  protec- 
tion, her  long  pent-up  rage  against  her  pursuers 
finds  vent  in  a  terrible  cry  for  vengeance  and 
for  the  annihilation  of  all  her  enemies,  and  fall- 
ing on  her  knees  before  the  beggar  she  beseeches 
him  to  hasten  Odysseus's  return.  The  latter, 
being  at  last  sure  of  his  wife's  faithfulness,  re- 
assures her,  and  tells  her  to  confide  in  the  gods. 
The  third  act  opens  with  Apollo's  festival. 
The  statue  of  the  god  is  carried  before  the  peo- 
ple, adorned  with  roses  and  ivy.  The  suitors 
banquet  in  the  palace,  while  the  true  master 

323 


The  Standard  Operaglass 

sits  aloof  on  the  steps  of  the  temple,  and  is 
mocked  at  by  the  crowd;  he,  however,  remains 
qniet,  only  invoking  the  god  to  direct  his  fate. 
Trumpets  announce  the  arrival  of  the  queen, 
who  is  loudly  hailed  by  the  crowd.  She  carries 
her  husband's  own  bow,  and  promises  to  marry 
whomsoever  shall  succeed  in  bending  it  and  in 
shooting  the  arrow  through  a  series  of  twelve 
rings.  Telemachus  is  the  first  to  try  his  luck, 
hoping  to  redeem  his  beloved  mother.  But, 
alas!  his  strength  fails  him,  and  he  has  to  hand 
the  bow  on  to  the  suitors,  who  so  goad  and 
taunt  him  that  the  boy  draws  his  sword.  But 
they  are  stronger;  Telemachus  stumbles,  and 
the  beggar  catches  him  in  his  arms  and  unfolds 
his  mantle  to  protect  him,  whispering:  "  Tele- 
machus, my  son,  I  am  thy  father."  The  youth 
sinks  on  his  knees,  but  Odysseus  enjoins  silence 
upon  him,  and  warns  him  to  be  ready  for  battle. 
Meanwhile  the  boy  is  derided  by  the  crowd, 
aud  the  queen,  bitterly  disappointed,  turns  to 
the  beggar,  whispering:  "Thy  words,  old  man, 
were  false!  "  But  Odysseus  replies:  "The  gods 
will  prove  victorious,"  and  kisses  the  queen's 
hand  so  fervently  that  she  stares  at  him  as  one 
in  a  trance,  until  he,  recovering  himself,  kisses 
it  again  in  due  humility.  Her  eyes  once  more 
grow  dim,  and  she  leaves  the  grounds  in  dull 
despair.  During  this  time  the  bow  has  passed 
from  hand  to  hand,  but  none  can  bend  it,  and 

324 


Odysseus's   Return 

the  augur,  Theocly  menus,  who  hears  Jupiter's 
thunder  and  sees  the  ravens  fly  over  the  temple, 
prophesies  their  destruction. 

Eurymachus  at  last  proposes  to  throw  the 
bow  into  the  fire,  when  the  beggar  advances  and 
asks  leave  to  try.  his  strength  at  bending  it, 
which,  though  indignantly  refused  by  the  suit- 
ors, is  immediately  granted  by  Telemachus,  who 
owns  the  bow.  Odysseus  bends  it  and  shoots 
through  all  the  rings. 

During  this  scene  Pallas  appears  in  the  air, 
holding  her  shield  aloft.  Horror  seizes  the 
wooers  when  they  recognize  the  mighty  arm 
which  alone  can  bend  the  bow,  and  Odysseus, 
flinging  his  cloak  from  him  and  standing  erect 
in  his  shining  armor,  slays  his  enemies,  aided  by 
his  son  and  those  of  his  servants  who  have  re- 
mained true  to  him  and  to  their  queen.  The 
latter,  walking  slowly  over  the  peristyle,  all  at 
once  sees  Odysseus  and  recognizes  her  lord,  who 
folds  her  to  his  heart.  When  the  palace  is 
cleared  of  the  dead,  the  people  press  in  to  hail 
their  king,  and  Athene  appears  once  more, 
holding  her  shield  over  the  happy  crowd  and 
blessing  the  faithful  spouse. 


325 


The  Standard  Operaglass 
OEFEO  E   EURYDICE 

Opera  in  three  acts  by  GLUCK 
Text  by  KANliRO  DI  CALZABIGI 

This  opera  is  the  oldest  of  all  we  possess  in 
our  repertoire.  Gluck  had  already  written 
more  than  forty  operas,,  of  which  we  do  not 
even  know  the  names  now,  when  he  composed 
his  "  Orfeo,"  breaking  with  the  old  Italian  tra- 
ditions and  showing  a  new  and  more  natural 
taste.  All  the  charm  of  Italian  melody  is  still 
to  be  found  in  this  composition,  but  it  is  blent 
with  real  feeling  united  to  great  strength  of  ex- 
pression, and  its  value  is  enhanced  by  a  total 
absence  of  all  those  superfluous  warbles  and 
artificial  ornaments  which  filled  the  Italian 
operas  of  that  time.  The  libretto,  taken  from 
the  old  and  beautiful  Greek  tragedy,  is  as  effec- 
tive as  the  music. 

Orpheus,  the  celebrated  Greek  musician  and 
singer,  has  lost  his  wife,  Eurydice.  His  mourn- 
ful songs  fill  the  groves  where  he  laments,  and 
with  them  he  touches  the  hearts  not  only  of  his 
friends  but  of  the  gods.  On  his  wife's  grave 
Amor  appears  to  him,  and  bids  him  descend 
into  Hades,  where  he  is  to  move  the  Furies  and 
the  Elysian  shadows  with  his  sweet  melodies, 
and  win  back  from  them  his  lost  wife. 

326 


Orfeo  e  Eurydice 

He  is  to  recover  her  on  a  condition,  which  is, 
that  he  never  cast  a  look  on  her  during  their 
return  to  earth,  for  if  he  fail  in  this,  Eurydice 
will  he  forever  lost  to  him. 

Taking  his  lyre  and  casque,  Orpheus  promises 
obedience,  and  with  renewed  hope  sallies  forth 
on  his  mission.  The  second  act  represents  the 
gates  of  Erebus,  from  which  flames  arise.  Or- 
pheus is  surrounded  by  furies  and  demons,  who 
try  to  frighten  him;  but  he,  nothing  daunted, 
mollifies  them  by  his  sweet  strains,  and  they  set 
free  the  passage  to  Elysium,  where  Orpheus  has 
to  win  the  happy  shadows.  He  beholds  Eury- 
dice among  them,  veiled;  the  happy  shadows 
readily  surrender  her  to  him,  escorting  the  pair 
to  the  gates  of  their  happy  vale. 

The  third  act  beholds  the  spouses  on  their 
way  back  to  earth.  Orpheus  holds  Eurydice  by 
the  hand,  drawing  the  reluctant  wife  on,  but 
without  raising  his  eyes  to  her  face — on  and  on 
through  the  winding  and  obscure  paths  which 
lead  out  of  the  infernal  regions.  Notwithstand- 
ing his  protestations  of  love  and  his  urgent  de- 
mands to  her  to  follow  him,  Eurydice  never 
ceases  to  implore  him  to  cast  a  single  look  on 
her,  threatening  him  with  her  death  should  he 
not  fulfil  her  wish.  Orpheus,  forbidden  to  tell 
her  the  reason  of  his  strange  behavior,  long  re- 
mains deaf  to  her  cruel  complaints,  but  at  last 
he  yields,  and  looks  back,  only  to  see  her  expire 

327 


The  Standard   Operaglass 

under  his  gaze.  Overwhelmed  by  grief  and  de- 
spair, Orpheus  draws  his  sword  to  destroy  him- 
self, when  Amor  appears,  and  stays  the  fatal 
stroke. 

In  pity  for  Orpheus's  love  and  constancy  he 
reanimates  Eurydice  (contrary,  however,  to  the 
letter  of  the  Greek  tragedy),  and  the  act  closes 
with  a  beautiful  chorus  sung  in  Amor's  praise. 

OTHELLO 

Opera  in  four  acts  by  GIUSEPPE  VERDI 

Text  by  ARRIGO  BOITO 
Translated  into  the  German  by  MAX  KALBECK 

In  his  seventy-third  year  the  maestro  has 
given  to  his  time  an  opera  which  surpasses  his 
former  compositions  in  many  respects.  It 
proves  that  Verdi's  genius  has  remained  ad- 
mirably fresh,  and  that  the  new  views  and  reve- 
lations which  Wagner  opened  to  the  musical 
world  have  been  fully  understood  by  the  Italian. 
He  has  now  broken  with  the  unnatural  tradi- 
tions of  the  Italian  opera,  and  has  in  "  Othello  " 
given  us  a  work  which  secures  to  him  an  hon- 
ored place  among  the  best  dramatic  composers. 

It  must  not  be  forgotten  that  Verdi  had  a 
splendid  second  in  the  person  of  Boito,  the 
high-minded  and  capable  composer  of  "  Mefisto- 
fele."     He  omits  in  his  action  all  that  is  inci- 

328 


Othello 

dental,  and  as  a  consequence  the  force  of 
thought  and  expression  is  the  more  powerful. 
It  is  written  clearly  after  Shakespeare's  original. 

The  opera  was  put  on  the  stage  in  Munich  in 
the  summer  of  1888  with  great  success. 

The  first  scene  represents  the  people  follow- 
ing excitedly  the  course  of  Othello's  ship,  which 
battles  with  the  waves.  After  he  has  landed 
and  informed  the  assembly  of  his  victory  over 
the  Turks,  shouts  of  joy  and  exultation  rend 
the  air. 

Then  follows  a  convivial  chat  between  Cassio, 
Rodirigo,  and  Iago,  in  the  course  of  which  the 
latter  makes  Cassio  drunk.  Iago's  demoniacal 
nature  is  masterfully  depicted  here,  where  lie 
soon  succeeds  in  ruining  Cassio,  who  loses  his 
rank  as  captain. 

In  the  third  scene  we  see  Desdemona  with  her 
husband,  both  rejoicing  in  the  felicity  of  their 
mutual  love. 

In  the  second  act  Iago  proceeds  to  carry  out 
his  evil  intents,  by  sending  Cassio  to  Desde- 
mona, who  is  to  intercede  for  him  with  Othello. 
Iago  then  calls  Othello's  attention  to  the  retir- 
ing Cassio,  and,  by  making  vile  insinuations,  in- 
flames his  deadly  jealousy.  Desdemona  appears, 
surrounded  by  women  and  children,  who  offer 
her  flowers  and  presents.  She  comes  forward 
to  plead  for  Cassio,  and  Othello  suspiciously  re- 
fuses.    She  takes  out  her  handkerchief  to  cool 

329 


The  Standard  Operaglass 

her  husband's  aching  forehead  with  it,  but  he 
throws  it  down,  and  Emilia,  Iago's  wife,  picks 
it  up.     Iago  wrenches  it  from  her  and  hides  it. 

In  the  next  scene  Iago's  villainous  insinua- 
tions work  upon  Othello,  who  becomes  wildly 
suspicious.  Iago  relates  a  dream  of  Cassio's,  in 
which  he  reveals  his  love  for  Desdemona,  then 
he  hints  that  he  has  seen  Othello's  first  love- 
token,  her  lace  handkerchief,  in  Cassio's  hands, 
and  both  swear  to  avenge  Desdemona's  infidelity. 

In  the  third  act  Othello,  pretending  to  have 
a  headache,  asks  for  Desdemona's  lace  handker- 
chief. She  has  lost  it,  she  tells  him,  but  he 
is  incredulous  and  charges  her  with  infidelity. 
All  her  protests  are  useless,  and  at  length  he 
forces  her  to  retire.  Meanwhile  Iago  has 
brought  Cassio  and  urges  Othello  to  hide  him- 
self. Oassio  has  a  lady-love  named  Bianca, 
and  of  her  they  speak,  but  Iago  dexterously 
turns  the  dialogue  so  as  to  make  Othello  believe 
that  they  are  speaking  of  his  wife.  His  jealousy 
reaches  its  climax  when  Cassio  draws  forth 
Desdemona's  handkerchief,  which  Iago  has  de- 
posited in  Cassio's  house.  All  his  doubts  now 
seem  to  be  confirmed.  A  cannon  shot  an- 
nouncing the  arrival  of  a  galley  interrupts  the 
conversation  and  Cassio  quickly  leaves. 

In  the  following  scene  Iago  advises  Othello 
to  strangle  his  wife.  Othello  consents  and  gives 
Iago  a  captaincy. 

330 


Othello 

Lodovico,  an  Ambassador  of  Venice,  arrives 
with  other  nobles  to  greet  their  liberator, 
Othello.  Desdemona  ouce  more  asks  pardon 
for  Cassio,  but  is  roughly  rebuked  by  her  hus- 
band. The  latter  reads  the  order  which  has 
been  brought  to  him,  and  tells  Cassio  that  he  is 
to  be  General  in  his  stead  by  will  of  the  Doge 
of  Venice,  but  while  Cassio  is  confounded  by 
this  sudden  change  of  fortune,  Iago  secretly 
vows  his  death,  instigating  his  rival  Eodirigo  to 
kill  him.  At  last  Othello  faints,  overcome  by 
conflicting  emotions. 

In  the  fourth  act  Desdemona,  filled  with  sad 
forebodings,  takes  a  touching  farewell  of  Emilia. 
When  she  has  ended  her  fervent  prayer  (one  of 
the  most  beautiful  things  in  the  opera)  she  falls 
into  a  peaceful  slumber.  Othello  awakes  her 
with  a  kiss,  and  tells  her  immediately  thereafter 
that  she  must  die.  She  protests  her  innocence, 
but  in  vain,  for  Othello,  telling  her  that  Cassio 
can  speak  no  more,  smothers  her.  Hardly  has 
he  completed  his  ghastly  work  than  Emilia 
comes  up,  announcing  that  Rodirigo  has  been 
killed  by  Cassio.  Desdemona  with  her  dying 
breath  once  more  asserts  her  innocence,  while 
Emilia  loudly  screams  for  help.  When  the 
others  appear,  Emilia  discovers  her  husband's 
villainy,  Iago  flies,  and  Othello  stabs  himself 
at  the  feet  of  his  innocent  spouse. 


331 


The  Standard   Operaglass 

PAGLIACCI 
(MEERY  ANDREW) 

Musical  Drama  in  two  acts  and  a  Prologue 
Music  and  Text  by  R.  LEONCAVALLO 

Translated  into  the  German  by  LUDWIG  HARTMANN 

In  the  summer  of  the  year  1892  a  rumor  was 
going  through  the  musical  world  that  Mascagni 
had  found  his  equal,  nay,  his  superior,  in  the 
person  of  another  young  Italian  composer. 
When  the  "Pagliacci,"  by  Leoncavallo,  was 
executed  in  Italy,  it  excited  a  transport  of  en- 
thusiasm almost  surpassing  that  of  "  Caval- 
leria,"  so  that  Berlin  and  Leipsic  brought  the 
opera  on  the  stage  as  quickly  as  possible,  and 
Dresden  followed  their  example  on  January  22, 
1893,  with  the  same  great  success. 

The  opera  is  indeed  eminently  qualified  to 
produce  impression.  Though  less  condensed  in 
its  tragic  depths  than  "  Cavalleria,"  the  music 
is  nobler  without  being  less  realistic.  In  Leon- 
cavallo the  feeling  of  artistic  form  is  more  de- 
veloped. Though  of  southern  temper,  he  never 
lets  passion  get  the  better  of  the  beautiful  and 
true  harmony;  also  he  is  Mascagni's  senior  by 
eight  years. 

Leoncavallo's  excellent  musical  education  is 

332 


Pagli 


lacci 


as  unmistakable  as  the  influence  of  "Wagner's 
music  on  his  genius.  He,  too,  introduces  the 
"  leading  motives,"  but  he  is  far  from  imitating 
his  great  predecessor.  Like  Wagner,  he  did  his 
text  himself,  and  it  must  be  owned  that  it  is 
very  good.  The  idea  was  suggested  to  him  by 
an  event  which  he  witnessed  at  Montalto  in 
Calabria  during  the  summer  of  1865,  and  which 
impressed  him  deeply. 

In  the  Prologue,  a  wonderful  piece  of  music, 
Tonio  the  Fool  announces  to  the  public  the 
deep  tragic  sense  which  often  is  hidden  behind 
a  farce,  and  prepares  them  for  the  sad  end  of 
the  lovers  in  this  comedy. 

The  introduction,  with  its  wonderful  largo, 
is  like  a  mournful  lamentation;  then  the  cur- 
tain opens,  showing  the  entry  of  a  troop  of 
wandering  actors,  so  common  in  southern  Italy. 
They  are  received  with  high  glee  by  the  peas- 
ants, and  Canio,  the  owner  of  the  troop,  invites 
them  all  to  the  evening's  play.  Canio  looks 
somewhat  gloomy,  and  he  very  much  resents 
the  taunts  of  the  peasants,  who  court  his  beau- 
tiful wife  Kedda,  and  make  remarks  about  the 
Fool's  attentions  to  her.  Nevertheless  Canio 
gives  way  to  his  friends'  invitation  for  a  glass 
of  Chianti  wine,  and  he  takes  leave  of  his  wife 
with  a  kiss,  which,  however,  does  not  quite  re- 
store her  peace  of  mind,  Nedda's  conscience  be- 
ing somewhat  disturbed.     But  soon  she  casts 

333 


The  Standard   Operaglass 

aside  all  evil    forebodings,   and  vies  with   the 
birds  in  warbling  pretty  songs,  which,  though 
reminding  the  hearer  of  Wagner's  "  Siegfried," 
are    of     surpassing    harmony    and    sweetness. 
Tonio   the  Fool,  spying   the   moment   to   find 
Nedda  alone,  approaches  her  with  a  declaration 
of  love,  but  she  haughtily  turns  from  him,  and 
as  he  only  grows  more  obtrusive  and  even  tries 
to  embrace  her,  she  seizes  a  whip  and  slaps  him 
in  the  face.     Provoked  to  fury,  he  swears  to 
avenge  himself.     Hardly  has  he  turned  away 
when  the  peasant  Silvio  appears  on  the  wall. 
He  is  Ned  da's  lover,  and,  having  seen  Canio 
sitting  in  the  tavern,  he  entreats  her  to  separate 
herself  from  the  husband  she  never  loved  and 
take  flight  with  him.     JSTedda  hesitates  between 
duty  and  passion,  and  at  last  the  latter  prevails, 
and  she  sinks  into  his  arms.     This  love  duet  is 
wonderful  in  style  and  harmony.     Tonio  unfor- 
tunately has  spied  out  the  lovers  and  returns 
with  Canio.     But  on  perceiving  the  latter's  ap- 
proach   Silvio  has  leaped   over   the   wall,   his 
sweetheart's  body  covering  his  own  person,  so 
that  Canio  is  unable  to  recognize  his  rival;  he 
once   more   reminds   Nedda  to   be  ready  that 
night  and  then  takes  flight.     With  an  inarticu- 
late cry  Canio  rushes  after  him  and  Nedda  falls 
on  her  knees  to  pray  for  her  lover's  escape, 
while  Tonio  the  Fool  triumphs  over  her  misery. 
The  husband,  however,  returns  defeated;  pant- 

334 


Pagliacci 

ing,  he  claims  the  lover's  name,  and,  Nedda's 
lips  remaining  sealed,  he  is  about  to  stab  his 
wife,  when  Beppo  the  Harlequin  intervenes, 
and,  wrenching  the  dagger  from  his  unfor- 
tunate master's  hands,  intimates  that  it  is  time 
to  prepare  for  the  play.  While  Nedda  retires, 
Caaio  breaks  out  into  a  bitter  wail  of  his  hard 
lot,  which  compels  him  to  take  part  in  the 
farce,  which  for  him  is  bitter  reality.  With 
this  air  the  tragic  height  of  the  opera  is  reached. 
In  the  second  act  the  spectators  throng  before 
the  small  stage,  each  of  them  eager  to  get  the 
best  seat.  Nedda  appears,  dressed  as  Colum- 
bine, and  while  she  is  collecting  the  money  she 
finds  time  to  warn  Silvio  of  her  husband's 
wrath.  The  curtain  opens,  and  Nedda  is  seen 
alone  on  the  stage,  listening  to  the  sentimental 
songs  of  Arlequin,  her  lover  in  the  play.  Be- 
fore she  has  given  him  the  sign  to  enter,  Tonio, 
in  the  play  called  Taddeo  the  Fool,  enters,  bring- 
ing the  food  which  his  mistress  has  ordered  for 
herself  and  Arlequin.  Just  as  it  really  hap- 
pened in  the  morning,  the  poor  Fool  now  makes 
love  to  her  in  play;  but  when  scornfully  re- 
pulsed he  humbly  retires,  swearing  to  the  good- 
ness and  pureness  of  his  lady-love.  Arlequin 
entering  through  the  window,  the  two  begin 
to  dine  merrily,  but  Taddeo  reenters  in  mock- 
ing fright,  to  announce  the  arrival  of  the  hus- 
band Bajazzo  (Canio).     The  latter,  however,  is 

335 


The  Standard  Operaglass 

terribly  in  earnest,  and  when  he  hoarsely  exacts 
the  lover's  name,  the  lookers-on,  who  hitherto 
have  heartily  applauded  every  scene,  begin  to 
feel  the  awful  tragedy  hidden  behind  the 
comedy.  Xedda  remains  outwardly  calm,  and 
mockingly  she  names  innocent  Arlequin  as  the 
one  who  had  dined  with  her.  Then  Bajazzo 
begins  by  reminding  her  how  he  found  her  in 
the  street,  a  poor  waif  and  stray,  whom  he 
nursed,  petted,  and  loved,  and,  Nedda  remain- 
ing cold,  his  wrath  rises  to  fury  and  he  wildly 
curses  her,  shrieking  "  The  name  !  I  will  know 
his  name!  "  But  Nedda,  though  false,  is  no 
traitress.  "  Should  it  cost  my  life,  I  will  never 
betray  him,"  she  cries,  at  the  same  time  trying 
to  save  her  life  by  hurrying  from  the  stage 
amongst  the  spectators.  Too  late,  alas!  Canio 
already  has  reached  and  stabbed  her,  and  Silvio, 
who  rushes  forward,  also  receives  his  death- 
stroke  from  the  hands  of  the  deceived  husband, 
who  has  heard  his  name  slip  from  the  dying 
lips  of  his  wife.  All  around  stand  petrified; 
nobody  dares  to  touch  the  avenger  of  his  honor, 
who  stands  by  his  wife's  corpse  limp  and  broken- 
hearted :  "Go,"  says  he,  "go,  the  farce  is 
ended." 


336 


Parsifal 

PARSIFAL 
A  festival  Drama  by  RICHARD  WAGNER 

Though  "  Parsifal  "  is  never  to  be  given  on  any 
stage  except  in  Baireuth  until  1913  (by  Wag- 
ner's express  wish),  it  must  find  its  place  here, 
bv  reason  of  beiug  the  master's  last  and  most 
perfect  composition. 

In  "  Parsifal  "  the  heavenly  greatness  of  the 
Christian  idea  of  God,  which  is  at  the  founda- 
tion of  the  legeud  of  the  holy  Grail,  finds  grand 
expression.  There  scarcely  exists  another  com- 
position of  such  lofty  and  religious  spirit  as 
finds  expression  in  the  communion  scene.  It 
is  not  possible  to  imagine  a  more  vivid  contrast 
than  that  between  the  saintly  melodies  and 
those  of  the  "fascinating  fairies,  which  latter, 
glowing  with  poetry  and  ravishing  music,  capti- 
vate all  senses. 

The  contents  are  those  of  the  ancient  German 
legend.  The  first  scene  is  laid  in  a  forest  on 
the  grounds  of  the  keepers  of  the  Grail,  near 
Castle  Monsalvat.  Old  Gurnemanz  awakes  two 
young  Squires  for  their  morning  prayer,  and 
bids  two  Knights  prepare  a  bath  for  the  sick 
King  Amfortas,  who  suffers  cruelly  from  a 
wound  dealt  him  by  the  sorcerer  Klingsor,  the 
deadly  foe  of  the  holy  Grail.  The  Grail  is  a 
sacred  cup,  from  which  Christ  drank  at  the  last 
22  337 


The  Standard  Operaglass 

Passover,  and  which  also  received  his  holy 
blood.  Titurel,  Amfortas's  father,  has  built 
the  castle  to  shield  it,  and  appointed  holy  men 
for  its  service.  While  Gurnemanz  speaks  with 
the  Knights  about  their  poor  master's  suffer- 
ings, in  rushes  Kundry,  a  sorceress  in  Kling- 
sor's  service,  condemned  to  laugh  eternally  as  a 
punishment  for  having  derided  Christ  while  he 
was  suffering  on  the  cross.  She  it  was  who 
with  her  beauty  seduced  Amfortas,  and  deprived 
him  of  his  holy  strength,  so  that  Klingsor  was 
enabled  to  wring  from  the  King  his  holy  spear 
Longinus,  with  which  he  afterward  wounded 
him.  Kundry  is  in  the  garb  of  a  servant  of 
the  Grail;  she  brings  balm  for  the  King,  who 
is  carried  on  to  the  stage  in  a  litter,  but  it 
avails  him  not:  "a  guileless  fool"  with  a 
child's  pure  heart  who  will  bfing  back  the 
holy  spear  and  touch  him  with  it,  can  alone 
heal  his  wound. 

Suddenly  a  dying  swan  sinks  to  the  ground, 
and  Parsifal,  a  young  knight,  appears.  Gurne- 
manz reproaches  him  severely  for  having  shot 
the  bird,  but  he  appears  to  be  quite  ignorant  of 
the  fact  that  it  was  wrong,  and,  when  ques- 
tioned, proves  to  know  nothing  about  his  own 
origin.  He  only  knows  his  mother's  name 
"  Herzeleid  "  (heart's  affliction),  and  Kundry, 
who  recognizes  him,  relates  that  his  father, 
Gamuret,  perished  in  battle,  and  that  his  mother 

338 


Parsifal 

reared  him,  a  guileless  fool,  in  the  desert.  When 
Kundry  mentions  that  his  mother  is  dead,  and 
has  sent  her  last  blessing  to  her  son,  Parsifal  is 
almost  stunned  by  this,  his  first  grief.  Gurne- 
manz  conducts  him  to  the  castle,  where  the 
Knights  of  the  Grail  are  assembled  in  a  lofty 
hall.  Amfortas  is  laid  on  a  raised  couch,  and, 
from  behind,  Titurel's  voice  is  heard,  implor- 
ing his  son  to  efface  his  guilt  in  godly  works. 
Amfortas,  writhing  with  pain,  is  comforted  by 
the  prophecy: 

By  pity  lightened,  the  guileless  fool — 
Wait  for  him, — my  chosen  tool. 

The  Grail  is  uncovered,  the  blessing  given, 
and  the  repast  of  love  begins.  Amfortas's  hope 
revives,  but  toward  the  end  his  wound  bursts 
out  afresh.  Parsifal,  on  hearing  Amfortas's  cry 
of  agony,  clutches  at  his  heart,  without,  how- 
ever, understanding  his  own  feelings. 

The  second  act  reveals  Klingsor's  magic  cas- 
tle. Kundry,  not  as  a  demon  now,  but  as  a 
woman  of  imperious  beauty,  is  awakened  by 
Klingsor  to  seduce  Parsifal.  She  yearns  for 
pardon,  for  sleep  and  death,  but  she  struggles 
in  vain  against  the  fiendish  Klingsor. 

The  tower  gradually  sinks;  a  beautiful  gar- 
den rises,  into  which  Parsifal  gazes  with  rapture 
and  astonishment.  Lovely  maidens  rush  to- 
ward him,  accusing  him  of  having  destroyed 

339 


The  Standard   Operaglass 

their  lovers.  Parsifal,  surprised,  answers  that 
he  slew  them  because  they  checked  his  approach 
to  their  charms.  But  when  their  tenderness 
waxes  hotter,  he  gently  repulses  the  damsels 
aad  at  last  tries  to  escape.  He  is  detained, 
however,  by  Kundry,  who  tells  him  again  of  his 
beloved  mother;  and  when  Parsifal  is  sorrow- 
stricken  at  having  forgotten  her  in  his  thought- 
less rambles,  she  consoles  him,  pressing  his  lips 
with  a  fervent  kiss.  This  rouses  the  dreamy 
youth:  he  awakes  to  his  duty,  he  feels  the 
King's  spear-wound  burning;  the  unconscious 
fool  is  a  fool  no  longer,  but  conscious  of  his 
mission  and  distinguishing  right  from  wrong. 
He  calls  to  the  Saviour  to  save  him  from  a  guilty 
passion,  and  at  last  he  starts  up,  spurning 
Kundry.  She  tells  him  of  her  own  crime,  of 
Amfortas's  fall,  and  curses  all  paths  and  ways 
which  would  lead  him  from  her.  Klingsor, 
appearing  at  her  cry,  flings  the  holy  spear  at 
Parsifal,  but  it  remains  floating  over  his  head, 
and  the  youth,  grasping  it,  destroys  the  magic 
by  the  sign  of  the  cross. 

In  the  third  act  Gurnemanz  awakes  Kundry 
from  a  death-like  sleep,  and  is  astonished  to 
find  her  changed.  She  is  penitent  and  serves 
the  Grail.  Parsifal  enters  from  the  woods. 
Gurnemanz  recognizes  and  greets  him,  after  his 
wanderings  in  search  of  the  Grail,  which  have 
extended  over  long  years.     Kundry  washes  his 

340 


Philemon  and   Baucis 

feet  and  dries  them  with  her  own  hair.  Parsi- 
fal, seeing  her  so  humble,  baptizes  her  with  some 
water  from  the  spring,  and  the  dreadful  laugh 
is  taken  from  her;  then  she  weeps  bitterly. 
Parsifal,  conducted  to  the  King,  touches  his 
side  with  the  holy  spear,  and  the  wound  is 
closed.  Old  Titurel,  brought  on  the  stage  in 
his  coffin,  revives  once  more  a  moment,  raising 
his  hands  in  benediction.  The  Grail  is  re- 
vealed, pouring  a  halo  of  glory  over  all.  Kun- 
dry,  with  her  eyes  fixed  on  Parsifal,  sinks  dead 
to  the  ground,  while  Amfortas  and  Gurnemanz 
render  homage  to  their  new  King. 


PHILEMON  AND   BAUCIS 

Opera  in  two  acts  by  CHARLES  GOUNOD 

Text  by  JULES  BARBIER  and  MICHEL  CARRE,  with  an 
intermezzo 

This  is  a  truly  delightful  musical  composition, 
and  though  unpretending  and  not  on  the  level 
with  Gounod's  "  Margaretha,"  it  does  not  de- 
serve to  be  forgotten. 

The  libretto  is  founded  on  the  well-known 
legend. 

In  the  first  act  Jupiter  comes  to  Philemon's 
hut,  accompanied  by  Vulcan,  to  seek  refuge 
from    a    storm    which    the    god    himself    has 

341 


The  Standard   Operaglass 

caused.  He  has  come  to  earth  to  verify  Mer- 
cury's tale  of  the  people's  badness,  and  finding 
the  news  only  too  true,  besides  being  uncourte- 
ously  received  by  the  people  around,  he  is  glad 
to  meet  with  a  kindly  welcome  at  Philemon's 
door. 

This  worthy  old  man  lives  in  poverty,  but  in 
perfect  content  with  his  wife  Baucis,  to  whom 
he  has  been  united  in  bonds  of  love  for  sixty 
long  years.  Jupiter,  seeing  at  once  that  the 
old  couple  form  an  exception  to  the  evil  rule, 
resolves  to  spare  them,  and  to  punish  only  the 
bad  folks.  The  gods  partake  of  the  kind  peo- 
ple's simple  meal,  and  Jupiter,  changing  the 
milk  into  wine,  is  recognized  by  Baucis,  who  is 
much  awed  by  the  discovery.  But  Jupiter  re- 
assures her  and  promises  to  grant  her  only  wish, 
which  is  to  be  young  again  with  her  husband, 
and  to  live  the  same  life.  The  god  sends  them 
to  sleep,  and  then  begins  the  intermezzo. 

Phrygians  are  seen  reposing  after  a  festival, 
bacchants  rush  in  and  the  wild  orgies  begin 
afresh.  The  divine  is  mocked  and  pleasure 
praised  as  the  only  god.  Vulcan  comes,  sent 
by  Jupiter  to  warn  them,  but  as  they  only  laugh 
at  him,  mocking  Olympus  and  the  gods,  Jupiter 
himself  appears  to  punish  the  sinners.  An 
awful  tempest  arises,  sending  everything  to  rack 
and  ruin. 

In  the  second  act  Philemon's  hut  is  changed 

342 


Philemon  and   Baucis 

into  a  palace;  he  awakes  to  find  himself  and  his 
wife  young  again.  Jupiter,  seeing  Baucis's 
beauty,  orders  Vulcan  to  keep  Philemon  apart 
while  he  courts  her.  Baucis,  though  determined 
to  remain  faithful  to  her  Philemon,  feels  never- 
theless flattered  at  the  god's  condescension,  and 
dares  not  refuse  him  a  kiss.  Philemon,  appear- 
ing on  the  threshold,  sees  it,  and  violently  re- 
proaches her  and  his  guest,  and  though  Baucis 
suggests  who  the  latter  is,  the  husband  does 
not  feel  in  the  least  inclined  to  share  his  wife's 
love  even  with  a  god.  The  first  quarrel  takes 
place  between  the  couple,  and  Vulcan,  hearing 
it,  consoles  himself  with  the  reflection  that  he 
is  not  the  only  one  to  whom  a  fickle  wife  causes 
sorrow.  Philemon  bitterly  curses  Jupiter's 
gift;  he  wishes  his  wrinkles  back,  and  with 
them  his  peace  of  mind.  Throwing  down  Jupi- 
ter's statue,  he  leaves  his  wife  to  the  god. 
Baucis,  replacing  the  image,  Avhich  happily  is 
made  of  bronze,  sorely  repents  her  behavior 
toward  her  beloved  husband.  Jupiter  finds  her 
weeping,  and  praying  that  the  gods  may  turn 
their  wrath  upon  herself  alone.  The  god 
promises  to  pardon  both  if  she  is  willing  to 
listen  to  his  love.  She  agrees  to  the  bargain 
on  one  condition,  namely,  that  Jupiter  shall 
grant  her  a  favor.  He  consents,  and  she  en- 
treats him  to  make  her  old  again.  Philemon, 
listening  behind  the  door,  rushes  forward   to 

343 


The  Standard   Operaglass 

embrace  the  true  wife  and  joins  his  entreaties 
to  hers.  Jupiter,  seeing  himself  caught,  would 
fain  be  angry,  but  their  love  conquers  his 
wrath.  He  does  not  recall  his  gift,  but,  giving 
them  his  benediction,  he  promises  never  more 
to  cross  their  happiness. 


THE   THEEE  PINTOS 

Comic  Opera  in  three  acts  by  C.  M.  v.  WEBER 

After  WEBER'S  manuscripts  and  designs,  and  TH.  HELL'S  text- 
book.   The  musical  part  completed  by  GUSTAV  MAHLER,  the 
dramatic  part  by  CARL  VON  WEBER 

Thanks  to  the  incessant  endeavors  of  Weber's 
grandson  and  of  Gustav  Mahler,  the  gifted  dis- 
ciple of  Weber,  a  real  treasure  in  German  music 
has  been  disinterred  from  the  fragments  of 
the  past  long  after  its  composer's  death.  It 
is  a  striking  illustration  of  the  universality  of 
Weber's  genius  that  aught  like  this  should 
prove  to  have  been  written  by  him,  for  his 
manuscript  is  a  fragment  of  a  comic  opera  of 
the  best  kind.  Although  only  seven  parts  were 
completed  by  the  composer  himself,  Mahler  took 
the  remaining  ten  mostly  from  Weber's  other 
manuscripts.  He  completed  them  himself  so 
adroitly  that  the  best  musicians  cannot  distin- 
guish Weber  from  Mahler.  We  owe  a  debt  of 
gratitude  to  both  composer  and  poet,  who  have 

344 


The  Three  Pintos 

performed  this  act  of  piety  toward  the  great 
deceased  and  at  the  same  time  have  preserved 
us  real  musical  pearls.  The  text  is  well  done, 
though  not  important  enough  for  three  acts; 
two  would  have  been  quite  sufficient. 

The  first  scene  takes  us  into  a  little  village  in 
Spain,  where  a  student,  Don  Gaston  Piratos, 
bids  farewell  to  his  fellows.  He  is  a  gay  and 
gallant  youth,  whose  money  dwindles  to  a  paltry 
sum  before  mine  host's  long  account.  But  this 
cunning  host  has  a  charming  daughter,  Ines, 
and  light-hearted  Gaston  flirts  with  the  damsel; 
his  servant  Ambrosio  valiantly  assisting  him. 

The  Kater-romance  sung  by  Ines  is  as  grace- 
ful as  it  is  droll  and  effective. 

Don  Pinto  de  Fonseca  now  arrives  on  horse- 
back. He  is  so  corpulent  that  he  is  scarcely 
able  to  dismount,  and  lie  excites  the  curiosity 
and  amusement  of  all.  Having  called  for  food 
and  drink,  he  tells  Gaston  that  he  comes  to 
marry  a  rich  and  noble  lady,  Donna  Clarissa 
de  Pacheco.  Fonseca's  father  had  once  ren- 
dered a  great  service  to  Don  Pantaleone  Roiz  de 
Pacheco,  and  in  reward  he  destined  his  only 
child  Clarissa  for  Fonseca's  son.  This  promising 
young  knight  has  a  letter  of  recommendation 
from  his  father.  He  is  in  perplexity  as  to  his 
behavior  toward  such  a  young  lady,  and  Gas- 
ton offers  to  instruct  him  therein.  Ambrosio 
nets  as  bride.     Gaston  shows  how  she  is  to  be 

345 


The  Standard  Operaglass 

courted,  and  Don  Pinto  gawkishly  imitates  his 
teacher's  gestures.  This  scene  is  most  irre- 
sistibly comic.  When  wine  and  food  are  brought 
by  lues  and  her  servants,  Don  Pinto  so  entirely 
absorbs  himself  in  satisfying  his  hunger  and 
thirst  that  at  last  the  wine  gets  the  better  of 
him.  He  falls  asleep,  and  Gaston,  thinking  it 
an  injury  to  a  noble  lady  to  be  wooed  by  such  a 
clown,  takes  away  old  Fonseca's  letter  and  de- 
parts with  Ambrosio.  Don  Pinto  is  carried  into 
the  house  on  a  grass-covered  litter. 

In  the  second  act  Don  Pantaleone's  servants 
are  assembled  in  the  ancestral  hall,  where  their 
master  announces  to  them  the  approaching  ar- 
rival of  Don  Pinto,  his  daughter's  future  bride- 
groom. Donna  Clarissa,  who  already  loves  Don 
Gomez  Freiros,  a  knight  of  wealth,  noble  birth 
and  bearing,  is  in  despair,  as  is  also  her  lover, 
but  Laura,  her  pretty  maid,  promises  to  find 
ways  and  means  to  avert  the  dreaded  marriage. 

In  the  third  act  Laura  and  the  servants  are 
decorating  the  hall  with  flowers.  The  major- 
domo  sends  them  away,  proclaiming  Don  Pinto's 
arrival.  All  go  except  Laura,  who  hides  behind 
a  bosquet.  Gaston,  entering  with  Ambrosio, 
sees  all  those  preparations  with  wonder.  Am- 
brosio detects  Laura  and,  according  to  his  wont, 
begins  to  court  her.  Gaston  warns  the  damsel, 
and  she,  entering  into  the  joke,  mockingly 
quits  them.     Gay  Ambrosio  is  consoling  him- 

34^ 


The  Three   Pintos 

self  in  a  charming  song  of  which  the  burden  is 
girls'  fickleness,  when  Don  Gomez  enters  and 
touches  Gaston's  kind  heart  by  the  description 
of  his  love  for  Clarissa.  Gaston  tenders  him 
Fonseca's  letter,  counselling  Gomez  to  play  the 
part  of  Don  Pinto,  for  Don  Pantaleone  has 
never  seen  either  of  them.  Gomez  accepts  the 
letter  gratefully  from  the  supposed  Don  Pinto, 
and  presents  it  to  Don  Pantaleone,  who  has 
entered  with  his  daughter  and  his  whole  suite. 
Of  course  the  father,  struck  by  the  knight's 
noble  bearing,  gives  his  consent  to  the  union 
with  his  daughter  and  adds  his  benedictions. 
But  their  joy  is  disturbed  by  the  entrance  of 
the  real  Don  Pinto,  who  at  once  begins  woo- 
ing in  the  manner  he  has  practised  with  Don 
Gaston. 

The  ridiculous  fellow  is  thought  mad  and  is 
about  to  be  turned  out,  when,  catching  sight  of 
Gaston,  he  loudly  accuses  him  of  treachery. 
Gaston,  however,  draws  his  sword  and  menaces 
Don  Pinto,  upon  which  the  poor  swain  cries  for 
mercv,  and  is  thereafter  removed  from  the  hall 
amidst  the  laughter  of  the  whole  chorus. 

Imagine  the  assistants'  astonishment  when 
Gaston  declares  that  they  have  turned  out  the 
true  Don  Pinto.  Gomez,  believing  himself  be- 
trayed, challenges  Gaston,  and  the  father  rages 
against  the  two  pretenders.  But  Clarissa  pleads, 
and  Gaston  quietly  shows  to  Don  Pantaleone 

347 


The  Standard   Operaglass 

the  contrast  between  the  two  suitors,  while 
Gomez  is  obliged  to  acknowledge  gratefully 
that  he  owes  his  lovely  bride  solely  to  Don  Gas- 
ton's joke.     So  the  lovers  are  united. 


THE  PIPEK   OF  HAMELK 

Opera  in  five  acts  by  VICTOR  NESSLER 

Text  by  FR.  HOFMANN  from  JULIUS  WOLFF'S  legend  of  the 

same  name 

Without  any  preliminary  introduction  to  the 
musical  world,  Xessler  wrote  this  opera  and  at 
once  became  not  only  known,  but  a  universal 
favorite;  so  much  so  that  there  is  scarcely  a 
theatre  in  Germany  in  which  this  work  of  his 
is  not  now  given. 

The  subject  of  the  libretto  is  a  most  favorable 
one,  like  that  of  Nessler's  later  composition, 
"  The  Trumpeter  of  Saekkingen,"  the  princi- 
pal personage,  Singuf,  being  particularly  well 
suited  for  a  first-rate  stage  hero. 

Then  Wolff's  poetical  songs  are  music  in 
themselves,  and  it  was  therefore  not  difficult 
to  work  out  interesting  melodies,  of  which,  as  a 
matter  of  fact,  we  find  many  in  this  opera. 

The  scene  of  the  following  events  is  the  old 
town  of  Hameln  on  the  Weser  in  the  year  1284. 
The   citizens   are  assembled   in   council   as   to 

348 


The   Piper  of  Hamelh 

how  the  rat-plague  of  the  town  is  to  be  got 
rid  of.  No  one  is  able  to  suggest  a  remedy, 
when  suddenly  the  clerk  of  the  senate,  Ethel- 
erus,  announces  a  stranger,  who  offers  to  destroy 
all  the  rats  and  mice  in  the  place,  solely  by  the 
might  of  his  pipe.  Hunold  Singuf,  a  wander- 
ing Bohemian,  enters  and  repeats  his  offer,  ask- 
ing one  hundred  marks  in  silver  as  his  reward, 
and  forbidding  anybody  to  listen  or  to  be  pres- 
ent while  he  works  his  charm. 

The  senators  comply  with  his  request,  prom- 
ising him  in  addition  a  drink  from  the  town- 
cellar  when  the  last  rat  shall  have  disappeared, 
which  is  to  be  when  the  moon  is  full. 

In  the  following  scene  the  Burgomaster's 
daughter,  Regina,  is  with  her  old  cousin,  Doro- 
thea. She  expects  her  bridegroom,  the  archi- 
tect of  the  town  and  son  of  the  chief  magistrate, 
Heribert  Sunneborn,  who  has  just  returned 
home  from  a  long  stay  abroad.  While  the 
lovers  greet  each  other,  Ethelerus,  who  has 
wooed  Regina  in  vain,  stands  aside  greatly  mor- 
tified. 

The  second  act  opens  in  an  inn,  where  Hunold 
makes  the  people  dance  and  sing  to  his  won- 
derful melodies.  There  he  first  sees  the  maid 
who  has  appeared  to  him  in  his  dreams.  She 
is  Gertrud,  a  fishermaiden,  and  "  to  look  is 
to  love  " — they  are  attracted  to  each  other  as 
by  a  magic  spell.     Wulf,  the  smith,  who  loves 

349 


The  Standard   Operaglass 

Gertrud,  sees  it  with  distrust,  but  Hunold  be- 
gins to  sing  his  finest  songs.  In  the  evening 
the  lovers  meet  before  Gertrud's  hut,  and,  full 
of  anxious  forebodings,  she  tries  to  turn  him 
from  his  designs,  and  is  only  half  quieted  when 
he  assures  her  that  no  fiendish  craft  is  at  work, 
and  that  he  will  do  it  for  the  last  time. 

In  the  third  act  Ethelerus  holds  council  with 
magister  Ehynperg  as  to  the  means  by  which 
they  can  best  succeed  in  teasing  and  provoking 
the  proud  Sunneborn.  Hunold  enters  and, 
agreeable  to  an  invitation  of  theirs,  sits  down 
to  drink  a  bottle  of  wine.  They  make  him 
drink  and  sing  a  good  deal,  and  he  boasts  of 
being  able  to  make  the  maidens  all  fall  in  love 
with  him,  if  he  chooses.  Rhynperg  suggests 
that  he  must  omit  the  Burgomaster's  daughter, 
Eegina,  and  he  succeeds  in  making  Hunold 
accept  a  wager  that  he  will  obtain  a  kiss  from 
her  before  his  departure. 

The  following  night  Hunold  accomplishes 
the  exorcism  of  the  rats,  which  may  be  seen 
running  toward  him  from  every  part  of  the 
town  and  precipitating  themselves  into  the 
river.  Unhappily,  Wulf,  standing  in  a  recess, 
has  seen  and  heard  all  and,  coming  forward  to 
threaten  Hunold,  the  latter  hurls  his  dagger 
after  him,  upon  which  Wulf  takes  flight. 

In  the  fourth  act  the  whole  town  is  assembled 
to   rejoice  in   its  deliverance  from   the  awful 

350 


The   Piper  of  Hameln 

plague,  but  when  Hunold  asks  for  his  reward 
the  Burgomaster  tells  him  that  a  so-called  rat- 
king,  a  beast  with  five  heads,  has  been  seen  in 
his  (the  Burgomaster's)  cellar,  to  which  com- 
plaint Hunold  replies  that  it  is  the  smith's 
fault,  who  listened  against  his  express  pro- 
hibition. He  promises  to  destroy  the  rat-king 
on  the  same  day,  and  once  more  claims  his  due, 
together  with  the  promised  parting  gift,  which 
he  begs  to  be,  not  a  drink  of  wine,  but  a  kiss 
from  Regina's  lips.  Of  course  everybody  is 
astounded  at  his  insolence,  and  the  angry  Bur- 
gomaster bids  him  leave  the  town  at  once,  with- 
out his  money.  But  Hunold,  nothing  daunted, 
begins  to  sing  so  beautifully  that  the  hearts  of 
all  the  women  yearn  toward  him;  he  contiuues 
still  more  passionately,  addressing  himself 
directly  to  Regina,  and  never  stops  till  the 
maiden,  carried  away  by  a  passion  unconquer- 
able, offers  her  lips  for  a  kiss,  swearing  to  be 
his  own  forever.  A  great  tumult  arises  and 
Hunold  is  taken  to  prison,  notwithstanding  the 
remonstrances  of  Ethelerus,  who  bitterly  re- 
pents having  had  anything  to  do  with  Rhyn- 
perg's  bad  joke. 

The  fifth  act  takes  us  to  the  banks  of  the 
Weser,  where  Gertrud  sits  in  despair.  She 
deems  herself  betrayed  by  Hunold,  but  resolves, 
nevertheless,  to  save  his  life. 

Hunold  is  brought  before  the  judges  and  con- 

35i 


The  Standard  Operaglass 

demned  to  be  burnt  alive  as  a  sorcerer,  when 
Gertrud  steps  forth,  claiming  his  life.  In  pur- 
suance of  an  old  privilege,  Hunold  is  free  when 
a  maid  of  the  town  claims  him,  but  he  is  ban- 
ished from  the  country  and  Gertrud  with  him. 

Hunold  promises  never  to  return,  but  Gertrud 
throws  herself  iuto  the  river. 

Then  Hunold  swears  to  avenge  the  death  of 
his  bride.  While  the  citizens  are  in  church  he 
lures  away  their  children  by  playing  on  his  pipe; 
all  follow  him,  both  great  and  small.  When  he 
has  led  them  safely  over  the  bridge,  he  calls  the 
people  from  church.  All  gather  on  the  banks 
of  the  stream,  but  they  are  only  just  in  time  to 
see  the  bridge  fall  into  the  river,  while  the  moun- 
tain opposite  opens,  swallowing  up  Hunold  and 
the  children  for  ever. 


THE  POACHEE 

OK 

"THE  YOICE   OF  NATURE" 

by  LORTZING 
Text  after  a  comedy  by  KOTZEBUE 

The  music  of  this  opera  is  so  fresh,  so  full  of 
gayety  and  of  charming  melodies,  that  it  might 
be  compared  with  Lortzing's  "Czar  and  Zim- 

352 


The   Poacher 

raermann,"  if  only  the  text  were  as  well  done. 
Unhappily,  it  lacks  all  the  advantages  which 
characterize  the  opera  just  named,  as  it  is  frivo- 
lous, without  possessing  the  grace  and  "  esprit " 
which  distinguish  French  composition  of  a  sim- 
ilar kind. 

Nevertheless  the  good  music  prevails  over  the 
bad  text,  and  the  opera  holds  its  own  with  suc- 
cess in  every  German  theatre. 

The  contents  of  the  libretto  are  as  follows: 
A  schoolmaster,  Bacillus  by  name,  has  had 
the  misfortune  unintentionally  to  shoot  a  roe- 
buck belonging  to  the  forest  of  his  master, 
Count  of  Eberbach.  Bacillus,  who  is  on  the 
eve  of  his  wedding  with  a  young  girl  named 
Gretchen,  is  much  afraid  when  the  consequences 
of  his  unlucky  shot  show  themselves  in  the 
shape  of  a  summons  to  the  castle,  where  he  is 
looked  on  as  a  poacher,  and  is  in  danger  of  los- 
ing his  position.  His  bride  offers  to  entreat  the 
Count  to  pardon  him,  but  the  jealous  old  school- 
master will  not  allow  it.  In  this  embarrassing 
position  the  Baroness  Freimann,  a  young  wid- 
ow, appears,  disguised  in  the  suit  of  a  student, 
and  accompanied  by  her  chambermaid  ITanette, 
who  is  dressed  as  her  famulus  or  valet.  Hear- 
ing of  the  schoolmaster's  misfortune,  she  pro- 
poses to  put  on  Gretchen's  clothes  and  to  crave 
the  Count's  pardon  under  the  bride's  name. 
Baculus  gladly  accepts  the  student's  proposal 
33  353 


The  Standard  Operaglass 

and  accompanies  him  to  the  castle.  Everybody 
is  charmed  by  the  graces  and  naivete  of  the 
country  girl.  The  Count  tries  to  make  love  to 
her,  while  Baron  Kronthal,  who  is  present,  is 
so  much  enamored  that  he  thinks  of  marrying 
her  despite  her  low  birth.  Kronthal  is  the 
Countess  of  Eberbach's  brother,  but  she  does 
not  know  him  as  such,  though  she  feels  herself 
greatly  attracted  by  him.  In  order  to  save  the 
girl  from  persecution  the  Countess  takes  her 
with  her  into  her  room.  Meanwhile  the  Count 
offers  the  sum  of  5,000  thalers  to  Baculus  for 
the  renunciation  of  his  bride.  The  silly  school- 
master accepts  the  offer,  thinking  that  the 
Count  wishes  to  win  the  real  Gretchen.  By 
waking  the  latter' s  vanity  he  succeeds  in  turn- 
ing her  affection  to  the  Count,  but  great  is  his 
perplexity  when  the  Count  rejects  his  bride  and 
scornfully  asks  for  the  other  Gretchen.  Ba- 
culus avows  at  last  that  the  latter  is  a  disguised 
student.  Baron  Kronthal,  full  of  wrath,  asks 
for  satisfaction,  the  student  having  passed  the 
night  in  his  sister's  room.  On  this  occasion 
the  others  for  the  first  time  hear  that  the  Count- 
ess is  the  Baron's  sister.  He  demands  an  ex- 
planation, and  then  it  is  discovered  that  the 
student  is  the  Baroness  Freimann,  sister  of  the 
Count  of  Eberbach.  Everybody  is  content,  for 
the  Count,  who  was  detected  in  the  act  of  kiss- 
ing the  country  girl,  declares  that  with  him  it 

354 


The   Postilion  of  Longjumeau 

was  the  voice  of  nature  that  spoke,  and  the 
Countess,  to  whom  he  now  presents  Kronthal 
as  her  brother,  makes  a  like  statement.  The 
unhappy  Bacillus  receives  full  pardon  from  the 
Count,  on  condition  that  he  will  henceforth 
teach  the  children  of  the  village  instead  of 
shooting  game. 


THE  POSTILION   OF    LONGJUMEAU 

Comic  Opera  in  three  acts  by  ADOLPHE  ADAM 
Text  by  LEUVEN  and  BRUNSWICK 

This  charming  little  opera  is  well  worthy  of 
being  named  among  the  best  of  its  kind,  both 
on  account  of  its  delightful  music  and  because 
the  text  is  so  entertaining  and  funny  as  entirely 
to  captivate  the  hearer's  interest. 

The  whole  opera  is  essentially  French  in  the 
best  sense  of  the  word,  and  we  scarce  can  find  a 
more  graceful  and  witty  composition.  Its  sub- 
ject, written  originally  in  good  French  verse,  is 
as  follows: 

Chapelou,  stage-driver  at  Longjumeau,  is 
about  to  celebrate  his  marriage  with  the  young 
hostess  of  the  post-house,  Madeleine.  The  wed- 
ding has  taken  place,  and  the  young  bride  is  led 
away  by  her  friends,  according  to  au  old  cus- 
tom, while  her  bridegroom  is  held  back  by  his 

•    355 


The  Standard   Operaglass 

comrades,  who  compel  him  to  sing.  He  begins 
the  romance  of  a  young  postilion  who  had  the 
luck  to  be  carried  away  by  a  Princess,  having 
touched  her  heart  by  his  beautiful  playing  on 
the  cornet.  Chapelou  has  such  a  fine  voice  that 
the  Superintendent  of  the  Grand  Opera  at 
Paris,  the  Marquis  de  Corey,  who  hears  him,  is 
enchanted,  and,  being  in  search  of  a  good  tenor, 
succeeds  in  winning  over  Chapelou,  who  con- 
sents to  leave  his  young  Avife  in  order  to  follow 
the  Marquis's  call  to  glory  and  fortune.  He 
begs  his  friend  Bijou,  a  smith,  to  console  Made- 
leine, by  telling  her  that  he  will  soon  return  to 
her.  "While  Madeleine  calls  for  him  in  ten- 
derest  accents,  he  drives  away  with  his  protect- 
ors, and  Bijou  delivers  his  message,  determined 
to  try  his  fortune  in  a  similar  way.  The. des- 
perate Madeleine  resolves  to  fly  from  the  un- 
happy spot  where  everything  recalls  to  her  her 
faithless  husband. 

In  the  second  act  we  find  Madeleine  under 
the  assumed  name  of  Madame  de  Latour.  She 
has  inherited  a  fortune  from  an  old  aunt,  and 
makes  her  appearance  in  Paris  as  a  rich  and 
noble  lady,  with  the  intention  of  punishing  her 
husband,  whom  she,  however,  still  loves.  Dur- 
ing the  six  years  that  have  passed  since  their 
wedding  day  Chapelou  has  won  his  laurels  un- 
der the  name  of  St.  Phar,  and  is  now  the  first 
tenor   of   the    Grand    Opera    and    everybody's 

356   . 


The   Postilion  of  Longjumeau 

spoiled  favorite.  Bijou  is  with  him  as  leader  of 
the  chorus,  and  is  called  Alcindor.  We  pres- 
ently witness  a  comical  rehearsal  in  which  the 
principal  singers  are  determined  to  do  as  badly 
as  possible.  They  all  seem  hoarse,  and,  instead 
of  singing,  produce  the  most  lamentable  sounds. 
The  Marquis  de  Corey  is  desperate,  having 
promised  this  representation  to  Mme.  Latour, 
at  whose  country  seat  near  Fontainebleau  he  is 
at  present  staying.  As  soon  as  St.  Phar  hears 
the  name  of  this  lady,  his  hoarseness  is  gone, 
and  all  sing  their  best.  We  gather  from  this 
scene  that  Mme.  Latour  has  succeeded  in  en- 
thralling St.  Phar;  he  has  an  interview  with 
her,  and,  won  by  his  protestations  of  love,  she 
consents  to  marry  him. 

St.  Phar,  not  wishiug  to  commit  bigamy,  begs 
his  friend  Bijou  to  perform  the  marriage  cere- 
mony in  a  priest's  garb;  but  Mme.  Latour  locks 
him  in  her  room,  along  with  Bourdon,  the 
second  leader  of  the  chorus,  while  a  real  priest 
unites  the  pair  for  the  second  time. 

St.  Phar  enters  the  room  in  high  spirits,  when 
his  companions,  beside  themselves  with  fear,  tell 
him  that  he  has  committed  bigamy.  While 
they  are  in  mortal  terror  of  being  hanged,  Mme. 
Latour  enters  in  her  former  shape  as  Madeleine, 
aud,  blowing  out  the  candle,  torments  St.  Phar, 
assuming  now  the  voice  of  Mme.  Latour,  now 
that   of    Madeleine.      After  having   sent    her 

357 


The  Standard   Operaglass 

fickle  husband,  into  an  abyss  of  unhappiness 
and  fear,  the  Marquis  de  Corey,  who  had  him- 
self hoped  to  wed  the  charming  widow,  appears 
with  the  police  to  imprison  the  luckless  St. 
Phar.  who  already  considers  himself  as  good  as 
hanged,  and  in  imagination  sees  his  first  wife, 
Madeleine,  rejoicing  over  his  punishment.  But 
he  has  been  made  to  suffer  enough,  and  at  the 
last  moment  Madeleine  explains  everything, 
and  Chapelou  obtains  her  pardon. 


PEECIOSA 

A  Drama  in  four  acts  by  ALEXANDER  WOLFF 
Musical  accompaniment  by  CHARLES  MARIA  VON  WEBER 

Though  Preciosa  is  not  an  opera,  we  may  feel 
justified  in  admitting  it  into  our  collection,  as 
the  music  which  "Weber  wrote  to  it  has  alone 
given  celebrity  to  Wolff's  drama,  which  would 
otherwise  have  long  been  forgotten. 

This  musical  composition  is  justly  called  one 
of  the  German  nation's  jewels,  and  it  shows  all 
the  best  qualities  of  Weber's  rich  music.  It 
was  written  after  the  "  Freisclmtz,"  and  done  in 
the  incredibly  short  space  of  nine  days,  and 
owed  its  success  principally  to  the  really  national 
coloring  of  melody,  which  has  made  some  of  its 
songs  so  popular. 

358 


Preciosa 

The  libretto  is  well  done,  the  subject  both 
attracting  and  interesting  the  hearer.  The 
scene  is  laid  in  Spain.  The  first  act  introduces 
us  to  Madrid  and  takes  us  into  the  house  of  a 
noble  Spaniard,  named  Don  Fraucesco  de  Car- 
cano.  His  son,  Don  Alonzo,  has  fallen  vio- 
lently in  love  with  a  Bohemian  girl,  called 
Preciosa,  whose  beaut}',  virtue,  and  charms  are 
on  everybody's  lips.  The  father,  wishing  to 
know  her,  calls  her  before  him,  and  she  comes 
with  her  people,  enchanting  the  old  nobleman 
as  well  as  his  son  by  her  noble  bearing  and  her 
exquisite  songs. 

The  second  act  represents  a  forest  with  the 
gipsies'  camp.  Alonzo,  who  has  told  his  father 
that  he  followed  the  army,  but  has  in  reality 
been  seeking  Preciosa,  at  length  finds  her  out 
and  tries  to  win  her.  But  though  she  returns 
his  love,  she  is  yet  unwilling  to  follow  him,  and 
he  resolves  to  link  his  fate  with  that  of  the 
Bohemians,  in  order  to  prove  to  Preciosa  that 
his  love  is  real  and  true.  Dressed  as  a  common 
hunter,  he  follows  his  new  friend,  and  the 
gipsies,  who  are  all  governed  by  Preciosa's  will, 
swear  never  to  betray  him. 

The  third  act  introduces  us  into  the  castle  of 
Don  Azevedo  in  Valencia,  a  friend  of  Don 
Francesco's.  The  former  is  about  to  celebrate 
his  silver  wedding.  Eugenio,  his  son,  hearing 
that  Preciosa  is  in  the  neighborhood,  resolves 

359 


The  Standard  Operaglass 

to  win  her  for  his  father's  festival,  having  heard 
of  the  latter's  delight  at  seeing  the  gipsy  girl  in 
his  friend's  house  at  Madrid.  Engenio  rouses 
the  jealousy  of  Alonzo,  who  begins  a  quarrel 
which  ends  by  Alonzo's  being  sent  to  prison. 

The  chief  of  the  Bohemians  and  old  mother 
Viarda,  wlio  see  too  late  that  they  have  come 
into  dangerous  grounds,  break  up  their  camp, 
but  Preciosa,  anxious  about  her  lover,  takes 
flight. 

She  is  caught  by  the  chief,  but,  seizing 
Alonzo's  gun,  which  was  left  lying  under  a  tree, 
•and  threatening  to  fire  if  he  does  not  obey  her, 
she  forces  him  to  follow  her  into  the  castle. 

The  last  act  takes  place  in  Azevedo's  castle, 
where  his  wife,  Donna  Clara,  touched  by  Pre- 
ciosa's  loveliness,  is  willing  to  assist  her  in  lib- 
erating her  lover.  Meanwhile  mother  Viarda 
comes  with  the  other  gipsies  to  betray  Alonzo's 
secret,  asking  one  thousand  scudi  and  her  chief's 
liberty.  At  this  moment  the  youth's  father, 
Don  Francesco,  comes  to  offer  his  congratula- 
tions at  the  silver  wedding  of  his  friend.  He 
finds  his  son,  whom  he  pardons,  Preciosa  hav- 
ing for  his  sake  agreed  to  renounce  her  bride- 
groom. AVhilo  bidding  her  hosts  a  sad  farewell, 
Preciosa  is  so  overcome  by  her  feelings  that 
Donna  Clara  entreats  her  husband  to  buy  the 
girl,  whom  she  believes  to  be  a  stolen  child. 
Don  Fernando  explains  to  the  Bohemians  that 

360 


Le  Prophete 

he  has  the  right  to  liberate  Preciosa,  who  has 
been  taken  in  his  grounds,  if  they  should  be 
unable  to  prove  her  gipsy  descent.  Old  Viarda, 
finding  that  her  schemes  have  fallen  through, 
shows  by  a  mark  on  Preciosa's  shoulder  that 
the  girl  is  Donna  Clara's  own  daughter,  who 
was  stolen  many  years  before  and  was  believed  by 
her  desolate  parents  to  be  drowned.  In  con- 
sideration of  Preciosa's  entreaties,  the  gipsies 
are  pardoned  and  only  ordered  to  leave  the 
country  forever.  Preciosa  is,  of  course,  united 
to  her  faithful  lover,  Alonzo. 

LE   PEOPH^TE 
Opera  in  five  acts  by  GIACOMO  MEYERBEER 

Text  by  SCRIBE 

Though  Meyerbeer  never  again  attained  the 
high  standard  of  his  "Huguenots,"  the  "Proph- 
et "  is  not  without  both  striking  and  powerful 
passages;  it  is  even  said  that  motherly  love  never 
spoke  in  accents  more  touching  than  in  this 
opera.  The  text  is  again  historical,  but  though 
done  by  Scribe  it  is  astonishingly  weak  and  un- 
interesting. 

The  scene  is  laid  in  Holland  at  the  time  of 
the  wars  with  the  Anabaptists. 

Fides,  mother  of  the  hero,  John  von  Leyden, 
keeps  an  inn  near  Dordtrecht.     She  has  just 

361 


The  Standard  Operaglass 

betrothed  a  young  peasant  girl  to  her  son,  but 
Bertha  is  a  vassal  of  the  Count  of  Oberthal  and 
dares  not  marry  without  his  permission. 

As  they  set  about  getting  his  consent  to  the 
marriage,  three  Anabaptists,  Jonas,  Mathisen, 
and  Zacharias,  appear,  exciting  the  people  with 
their  speeches  and  false  promises.  While  they 
are  preaching,  Oberthal  enters;  but,  smitten 
with  Bertha's  charms,  he  refuses  his  consent  to 
her  marriage  and  carries  her  off,  with  Fides  as 
companion. 

In  the  second  act  we  find  John  waiting  for 
his  bride;  as  she  delays,  the  Anabaptists  try  to 
win  him  for  their  cause;  they  prophesy  him  a 
crown,  but  as  yet  he  is  not  ambitious,  and  life 
with  Bertha  looks  sweeter  to  him  than  the  great- 
est honors.  As  night  comes  on,  Bertha  rushes 
in  to  seek  refuge  from  her  pursuer,  from  whom 
she  has  fled.  Hardly  has  she  hidden  herself, 
when  Oberthal  enters  to  claim  her.  John  re- 
fuses his  assistance;  but  when  Oberthal  threat- 
ens to  kill  his  mother,  he  gives  up  Bertha  to 
the  Count,  while  his  mother,  whose  .life  he  has 
saved  at  such  a. price,  asks  God's  benediction  on 
his  head.  Then  she  retires  for  the  night,  and 
the  Anabaptists  appear  once  more,  again  trying 
to  win  John  over.  This  time  they  succeed. 
Without  a  farewell  to  his  sleeping  mother,  John 
follows  the  Anabaptists,  to  be  henceforth  their 
leader,  their  Prophet,  their  Messiah. 

362 


Le   Prophete 

In  the  third  act  we  see  the  Anabaptists'  camp. 
Their  soldiers  have  captured  a  party  of  noble- 
men, who  are  to  pay  ransom.  They  all  make 
merry,  and  the  famous  ballet  on  the  ice  forms 
part  of  the  amusement.  In  the  background 
we  see  Miinster,  which  town  is  in  the  hands  of 
Count  Oberthal's  father,  who  refuses  to  sur- 
render it  to  the  enemy.  They  resolve  to  storm 
it,  a  resolution  which  is  heard  by  young  Ober- 
thal,  who  has  come  disguised  to  the  Anabaptists' 
camp  in  order  to  save  his  father  and  the  town. 

But  as  a  light  is  struck  he  is  recognized  and 
is  about  to  be  killed,  when  John  hears  from 
him  that  Bertha  has  escaped.  She  sprang  out 
of  the  window  to  save  her  honor,  and,  falling 
into  the  stream,  was  saved.  When  John  learns 
this  he  bids  the  soldiers  spare  Oberthal's  life, 
that  he  may  be  judged  by  Bertha  herself. 

John  has  already  endured  great  pangs  of  con- 
science at  seeing  his  party  so  wild  and  blood- 
thirsty. He  refuses  to  go  further,  but  hearing 
that  an  army  of  soldiers  has  broken  out  of 
Miinster. to  destroy  the  Anabaptists,  he  rallies. 
Praying  fervently  to  God  for  help  and  victory, 
inspiration  comes  over  him  and  is  communi- 
cated to  all  his  adherents,  so  that  they  resolve 
to  storm  Miinster.  They  succeed;  and  in  the 
fourth  act  we  are  in  the  midst  of  this  town, 
where  we  find  Fides,  who,  knowing  that  her 
son  has  turned  Anabaptist,  though  not  aware 

363 


The  Standard  Operaglass 

of  bis  being  tbeir  Prophet,  is  receiving  alms  to 
save  his  soul  by  masses.  She  meets  Bertha, 
disguised  in  a  pilgrim's  garb.  Both  vehemently 
curse  the  Prophet,  when  this  latter  appears,  to 
be  crowned  in  state. 

His  mother  recognizes  him,  but  he  disowns 
her,  declaring  her  mad,  and  by  strength  of  will 
be  compels  the  poor  mother  to  renounce  him. 
Fides,  in  order  to  save  his  life,  avows  that  she 
was  mistaken,  and  she  is  led  to  prison. 

In  the  last  act  we  find  the  three  Anabaptists, 
Mathisen,  Jonas,  and  Zacharias,  together.  The 
Emperor  is  near  the  gates  of  Miinster,  and  they 
resolve  to  deliver  their  Prophet  into  his  hands 
in  order  to  save  their  lives. 

Fides  has  been  brought  into  a  dungeon,  where 
John  visits  her  to  ask  her  pardon  and  to  save 
her.  She  curses  him,  but  his  repentance  moves 
her  so  that  she  pardons  him  when  he  promises 
to  leave  his  party.  At  this  moment  Bertha  en- 
ters. She  has  sworn  to  kill  the  false  Prophet, 
and  she  comes  to  the  dungeon  to  set  fire  to  the 
gunpowder  hidden  beneath  it.  Fides  detains 
her,  but  when  she  recognizes  that  her  bride- 
groom and  the  Prophet  are  one  and  the  same 
person  she  wildly  denounces  him  for  his  bloody 
deeds,  and  stabs  herself  in  his  presence.  Then 
John  decides  to  die  also,  and  after  the  soldiers 
have  led  his  mother  away  he  himself  sets  fire 
to  the  vault. 

364 


The  Queen  of  Sheba 

Then  he  appears  at  the  coronation  banquet, 
where  he  knows  that  he  is  to  be  taken  prisoner. 
When  Oberthal,  the  Bishop  and  all  his  treacher- 
ous friends  are  assembled,  he  bids  two  of  his 
faithful  soldiers  close  the  gates  and  fly.  This 
done,  the  castle  is  blown  into  the  air,  with  all  its 
inhabitants.  At  the  last  moment  Fides  rushes 
in  to  share  her  son's  fate,  and  all  are  thus  buried 
under  the  ruins. 


THE  QUEEN  OF  SHEBA 
(DIE  KONIGIN  VON  SABA) 

Grand  Opera  in  four  acts  by  CHARLES  GOLDMARK 
Text  by  MOSENTHAL 

Charles  Goldmark  was  born  in  Hungary  in 
1852.  He  received  his  musical  education  in 
Vienna. 

The  well-known  name  of  Mosenthal  is  in  it- 
self a  warrant  that  the  libretto  is  excellently 
suited  to  the  music.  The  opera  is  considered 
one  of  the  best  and  finest  of  our  modern  com- 
positions. 

It  is  noble,  original,  and  full  of  brilliant  or- 
chestral effects,  which,  united  to  a  grand,  not 
to  say  gorgeous,  mise  en  scdne,  captivate  our 
Benses. 

365 


The  Standard  Operaglass 

The  incidents  are  these : 

A  magnificent  wedding  is  to  be  celebrated  in 
King  Solomon's  palace  at  Jerusalem.  The 
High-priest's  daughter,  Sulamith,  is  to  marry 
Assad,  King  Solomon's  favorite.  But  the  lover, 
who  has,  in  a  foreign  country,  seen  a  most  beau- 
tiful and  haughty  woman  bathing  in  a  forest 
well,  is  now  in  love  with  the  stranger  and  has 
forgotten  his  destined  bride. 

Returning  home,  Assad  confesses  his  error  to 
the  wise  King,  and  Solomon  bids  him  wed  Sula- 
mith and  forget  the  heathen.  Assad  gives  his 
promise,  praying  to  God  to  restore  peace  to  his 
breast. 

Then  enters  the  Queen  of  Sheba  in  all  her 
glory,  followed  by  a  procession  of  slaves  and 
suitors.  Nest  to  her  litter  walks  her  principal 
slave,  Astaroth. 

The  Queen  comes  to  offer  her  homage  to  the 
great  Solomon,  with  all  the  gifts  of  her  rich 
kingdom. 

She  is  veiled,  and  nobody  has  seen  her  yet,  as 
only  before  the  King  will  she  unveil  herself. 

When  she  draws  back  the  veil,  shining  in  all 
her  perfect  beauty,  Assad  starts  forward;  he 
recognizes  her;  she  is  his  nymph  of  the  forest. 
But  the  proud  Queen  seems  to  know  him  not; 
she  ignores  him  altogether.  Solomon  and  Sula- 
mith try  to  reassure  themselves  to  console 
Assad,  and  the  Queen  hears  Solomon's  words: 

366 


The  Queen  of  Sheba 

"  To-morrow  shall  find  you  united  to  your 
bride!  "  She  starts  and  casts  a  passionate  look 
on  the  unfortunate  Assad. 

The  Queen  is  full  of  raging  jealousy  of  the 
young  bride.  But  though  she  claims  Assad's 
love  for  herself,  she  is  yet  too  p.*oud  to  resign 
her  crown,  and  so,  hesitating  between  love  and 
pride,  she  swears  vengeance  on  her  rival.  Un- 
der the  shade  of  night  her  slave-woman,  Asta- 
roth,  allures  Assad  to  the  fountain,  where  he 
finds  the  Queen,  who  employs  all  her  arts  again 
to  captivate  him,  succeeding,  alas!  only  too  well. 

Morning  dawns,  and  with  it  the  day  of  Assad's 
marriage  with  Sulamith.  Solomon  and  the 
High-priest  conduct  the  youth  to  the  altar;  but 
just  as  he  is  taking  the  ring,  offered  to  him  by 
the  bride's  father,  the  Queen  of  Sheba  appears, 
bringing  as  a  wedding  gift  a  golden  cup  filled 
with  pearls. 

Assad,  again  overcome  by  the  Queen's  daz- 
zling beauty,  throws  the  ring  away  and  precipi- 
tates himself  at  her  feet.  The  Levites  detain 
him,  but  Solomon,  guessing  at  the  truth,  im- 
plores the  Queen  to  speak.  Assad  invokes  all 
the  sweet  memories  of  their  past;  the  Queen 
hesitates,  but  her  pride  conquers.  For  the  sec- 
ond time  she  disowns  him.  Now  everybody  be- 
lieves Assad  possessed  by  an  evil  spirit,  and  the 
priests  at  once  begin  to  exorcise  it;  it  is  all  but 
done,    when   one   word   of    the   Queen's,   who 

367 


The  Standard  Operaglass 

sweetly  calls  him  "Assad,"  spoils  everything. 
He  is  in  her  power :  falling  on  his  knees  before 
her,  he  prays  to  her  as  to  his  goddess.  Wrath- 
ful at  this  blasphemy  in  the  temple,  the  priests 
demand  his  death. 

Assad  asks  no  better,  Sulamith  despairs,  and 
the  Queen  repents  having  gone  so  far.  In  the 
great  tumult  Solomon  alone  is  unmoved.  He 
detains  the  priests  with  dignity,  for  he  alone 
will  judge  Assad. 

There  now  follows  a  charming  ballet,  given  in 
honor  of  the  Queen  of  Sheba.  At  the  end  of 
the  meal,  the  Queen  demands  Assad's  pardon 
from  Solomon.  He  refuses  her  request.  She 
now  tries  to  ensnare  the  King  with  her  charms 
as  she  did  Assad,  but  in  vain.  Solomon  sees 
her  in  her  true  light  and  treats  her  with  cold 
politeness.  Almost  beside  herself  with  rage, 
the  Queen  threatens  to  take  vengeance  on  the 
King  and  to  free  Assad  at  any  risk. 

Solomon,  well  understanding  the  vile  tricks 
of  the  eastern  Queen,  has  changed  the  verdict 
of  death  into  that  of  exile.  Sulamith,  faithful 
and  gentle,  entreats  for  her  lover,  and  has  only 
one  wish :  to  sweeten  life  to  her  Assad,  or  to 
die  with  him. 

We  find  Assad  in  the  desert.  He  is  broken 
down  and  deeply  repents  his  folly,  when,  lo!  the 
Queen  appears  once  more,  hoping  to  lure  him 
with  soft  words  and  tears.     But  this  time  her 

368 


The  Nibelungen   Ring 

beauty  is  lost  upon  him;  he  has  at  last  recog- 
nized her  false  soul;  with  noble  pride  he  scorns 
her,  preferring  to  expiate  his  follies  by  dying 
in  the  desert.  He  curses  her,  praying  to  God 
to  save  him  from  the  temptress.  Henceforth 
he  thinks  only  of  Sulamith,  and  invokes  Heav- 
en's benediction  on  her.  He  is  dying  in  the 
dreadful  heat  of  the  desert,  when  Sulamith  ap- 
pears, the  faithful  one  who,  without  resting,  has 
sought  her  bridegroom  till  now.  But  alas!  in 
vain  she  kneels  beside  him,  couching  his  head 
on  her  bosom;  his  life  is  fast  ebbing  away. 
Heaven  has  granted  his  last  wish;  he  sees  Sula- 
mith before  his  death,  and  with  the  sigh  "  Lib- 
eration! "  he  sinks  back  and  expires. 


THE  NIBELUNGEN  KING 

A  Festival  Play  in  three  days  and  a  fore-evening  by 

RICHARD  WAGNER 

THE   RHINEGOLD 

This  grand  dramatic  work,  which  cannot  any 
longer  with  justice  be  called  an  opera,  differing 
as  it  does  so  considerably  from  the  ordinary 
style  of  operas,  is  the  result  of  many  years  of 
study  and  hard  work. 

Wagner  took  the  subject  from  the  German 
24  369 


The  Standard  Operaglass 

mythology,  the  oldest  representative  of  which  is 
found  in  the  Edda. 

We  have  first  to  do  with  the  fore-evening, 
called  the  "Khinegold." 

The  first  scene  is  laid  in  the  very  depths  of 
the  Ehine,  where  we  see  three  nymphs  frolick- 
ing in  the  water.  They  are  the  guardians  of 
the  Rhinegold,  which  glimmers  on  a  rock. 

Alberich,  a  Nibelung,  highly  charmed  by 
their  grace  and  beauty,  tries  to  make  love  to 
each  one  of  them  alternately.  As  he  is  an  ugly 
dwarf,  they  at  first  allure  and  then  deride  him, 
gliding  away  as  soon  as  he  comes  near,  and 
laughing  at  him.  Discovering  their  mockery 
at  last,  he  swears  vengeance.  He  sees  the 
Ehinegold  shining  brightly,  and  asks  the 
nymphs  what  it  means.  They  tell  him  of  its 
wonderful  qualities,  which  would  render  the 
owner  all-powerful  if  he  should  form  it  into  a 
ring  and  forswear  love. 

Alberich,  listening  attentively,  all  at  once 
climbs  the  rock,  and,  before  the  frightened 
nymphs  can  cry  for  help,  has  grasped  the 
treasure  and  disappeared.  Darkness  comes  on; 
the  scene  changes  into  an  open  district  on 
mountain  heights.  In  the  background  we  see 
a  grand  castle,  which  the  rising  sun  illumines. 
Wotan,  the  father  of  the  gods,  and  Fricka,  his 
wife,  are  slumbering  on  the  ground.  Awaken- 
ing, their  eyes  fall  on  the  castle  for  the  first 

37o 


The  Nibelungen   Ring 

time.  It  is  the  "Walhalla,"  the  palace  which 
the  giants  have  built  for  them  at  Wotan's  bid- 
ding. As  a  reward  for  their  services  they  are 
to  obtain  Freia,  the  goddess  of  youth;  but 
already  Wotan  repents  of  his  promise  and  forms 
plans  with  his  wife  to  save  her  lovely  sister. 
The  giants  Fafner  and  Fasold  enter  to  claim 
their  reward.  While  they  negotiate,  Loge,  the 
god  of  fire,  comes  up,  relates  the  history  of 
Alberich's  theft  of  the  Ehinegold,  and  tells 
Wotan  of  the  gold's  power.  Wotan  decides  to 
rob  the  dwarf,  promising  the  treasure  to  the 
giants,  who  consent  to  accept  it  in  Freia's 
stead.  But  they  distrust  the  gods  and  take 
Freia  with  them  as  a  pledge.  As  soon  as  she 
disappears,  the  beautiful  gods  seem  old  and 
gray  and  wrinkled,  for  the  golden  apples  to 
which  Freia  attends,  and  of  which  the  gods  par- 
take daily  to  be  forever  youthful,  wither  as 
soon  as  she  is  gone.  Then  Wotan,  without  any 
further  delay,  starts  for  Nibelheim  with  Loge, 
justifying  his  intention  by  saying  that  the  gold 
is  stolen  property.  They  disappear  in  a  cleft, 
and  we  find  ourselves  in  a  subterranean  cavern, 
the  abode  of  the  Nibelungs. 

Alberich  has  forced  his  brother  Mime  to  forge 
a  "  Tarnhelm "  for  him,  which  renders  its 
wearer  invisible.  Mime  vainly  tries  to  keep  it 
for  himself;  Alberich,  the  possessor  of  the  all- 
powerful  ring,  which  he  himself  formed,  takes 

37i 


The  Standard   Operaglass 

it  by  force  and,  making  himself  invisible  strikes 
Mime  with  a  whip,  until  the  latter  is  half  dead. 

Wotan  and  Loge,  hearing  his  complaints, 
promise  to  help  him.  Alberich,  coming  forth 
again,  is  greatly  flattered  by  Wotan  and  dexter- 
ously led  on  to  show  his  might.  He  first 
changes  himself  into  an  enormous  snake  and 
then  into  a  toad.  Wotan  quickly  puts  his  foot 
on  it,  while  Loge  seizes  the  Tarnhelm.  Al- 
berich, becoming  suddenly  visible  in  his  real 
shape,  is  bound  and  led  away  captive.  The 
gods  return  to  the  mountain  heights  of  the 
second  scene,  where  Alberich  is  compelled  to 
part  with  all  his  treasures,  which  are  brought 
by  the  dwarfs.  He  is  even  obliged  to  leave  the 
ring,  which  Wotan  intends  to  keep  for  himself. 
With  a  dreadful  curse  upon  the  possessor  of  the 
ring,  Alberich  flies. 

When  the  giants  reappear  with  Freia,  the 
treasures  are  heaped  before  her;  they  are  to 
cover  her  entirely,  so  it  is  decided,  and  not  be- 
fore will  she  be  free.  When  all  the  gold  has 
been  piled  up,  and  even  the  Tarnhelm  thrown 
on  the  hoard,  Fasold  still  sees  Freia's  eye  shine 
through  it,  and  at  last  Wotan,  who  is  most  un- 
willing to  part  with  the  ring,  is  induced  to  do 
so  by  Erda,  goddess  of  the  earth,  who  appears 
to  him  and  warns  him.  Now  the  pledge  is 
kept  and  Freia  is  released.  The  giants  quarrel 
over  the  possession  of  the  ring,  and  Fafner  kills 

372 


Rienzi,  the  Last  of  the  Tribunes 

Fasold,  thereby  fulfilling  Alberich's  curse. 
With  lightened  hearts  the  gods  cross  the  rain- 
bow bridge  and  enter  Walhalla,  while  the  songs 
and  wailings  of  the  Rhine  nymphs  are  heard, 
imploring  the  restitution  of  their  lost  treasure. 


RIENZI,  THE  LAST  OF  THE 
TRIBUKES 

Grand  tragic  Opera  in  five  acts  by 
RICHARD  WAGNER 

In  this  first  opera  of  Wagner's  one  hardly 
recognizes  the  great  master  of  later  times. 
Though  Wagner  himself  disowned  this  early 
child  of  his  muse,  there  is  a  grand  energy  in  it, 
which  preserves  it  from  triviality.  The  or- 
chestration is  brilliant,  and  here  and  there  one 
may  find  traces  of  the  peculiar  power  which 
led  up  to  the  greatness  of  after  years,  and  which 
sometimes  make  one  think  of  "  Tannhauser." 

The  libretto,  taken  by  Wagner  from  Bulwer's 
novel,  is  attractive  and  powerful. 

The  hero,  a  pontifical  notary,  is  a  man  of 
lofty  ambition,  dreaming  in  the  midst  of  the 
depravity  of  the  fourteenth  century  of  reerect- 
ing  the  old  Roma,  and  making  her  once  more  the 
Sovereign  of  the  world.  He  receives  help  and 
encouragement  from  the  Church ;  Cardinal  Rai- 

373 


The  Standard  Operagl'ass 

mondo  even  bids  him  try  all  means  in  order  to 
attain  his  end.  The  clergy  as  well  as  the  peo- 
ple are  oppressed  by  the  mighty  and  insolent 
nobles. 

In  the  first  scene  we  witness  an  act  of  bru- 
tality directed  against  Eienzi's  sister,  Irene, 
who  is,  however,  liberated  by  Adriano,  son  of  the 
noble  Colon  na.  A  Colonna  it  was  who  mur- 
dered Rienzi's  little  brother  in  sheer  wanton- 
ness. Rienzi  has  sworn  vengeance,  but,  seeing 
Adriano  good  and  brave  and  in  love  with  his 
sister,  he  wins  him  to  his  cause. 

The  nobles  having  left  Rome  to  fight  out  a 
quarrel  which  had  been  started  among  them, 
are  forbidden  to  reenter  the  town.  Rienzi 
calls  the  people  to  arms  and  is  victorious.  The 
strongholds  of  the  nobles  are  burned,  and  they 
are  only  admitted  into  Rome  on  promising 
submission  to  the  new  laws,  made  and  repre- 
sented by  Rienzi,  who  has  been  created  Tribune 
of  Rome. 

The  hostile  parties  of  Colonna  and  Orsini 
then  join  to  destroy  the  hated,  plebeian.  In  the 
midst  of  the  festivity  in  the  Capitol,  Orsini 
makes  an  attempt  to  murder  Rienzi,  but  the 
latter  wears  a  shirt  of  mail  under  his  garments, 
and,  besides,  he  is  warned  by  Adriano,  who 
has  overheard  the  conspiracy.  The  whole  plot 
fails,  and  the  nobles  who  have  taken  part  in  it 
are   unanimously  condemned  to   death.      But 

374 


Rienzi,  the  Last  of  the  Tribunes 

Adriano,  full  of  remorse  on  account  of  his  treason 
against  his  own  father,  implores  Eienzi  to  save 
their  lives,  and  as  Irene  joins  her  prayers  to 
those  of  her  lover,  the  culprits  are  pardoned 
and  obliged  to  renew  their  oath  of  fidelity. 
From  this  time  on  Rienzi's  star  begins  to  pale. 
The  nobles  do  not  adhere  to  their  oath;  in  the 
third  act  they  again  give  battle,  and  though 
Rienzi  is  again  victorious,  it  is  only  at  the  cost 
of  severe  sacrifices.  The  nobles  are  slain,  and 
now  Adriano,  who  had  in  vain  begged  for 
peace,  turns  against  Rienzi. 

In  the  fourth  act  Adriano  denounces  him  as 
a  traitor;  the  people,  easily  misled,  begin  to 
mistrust  him,  and  when  even  the  Church, 
which  has  assisted  him  up  to  this  time,  anathe- 
matizes him  on  account  of  his  last  bloody  deed, 
all  desert  him.  Irene  alone  clings  to  her 
brother,  and  repulses  her  lover  scornfully  when 
he  tries  to  take  her  from  Rienzi's  side.  Both 
brother  and  sister  retire  into  the  Capitol,  where 
Adriano  once  more  vainly  implores  Irene  to  fly 
with  him.  For  the  last  time  Rienzi  attempts 
to  reassert  his  power,  but  his  words  are  drowned 
in  the  general  uproar.  They  are  greeted  by  a 
hail  of  stones,  the  Capitol  is  set  on  fire,  and 
they  perish  like  heroes  in  the  flames,  through 
which  Adriano  makes  his  way  at  the  last  mo- 
ment, and  thus  finds  a  common  grave  with  his 
bride  and  her  brother,  the  last  of  the  Tribunes. 

375 


The  Standard  Operaglass 
EIGOLETTO 

Opera  in  three  acts  by  VERDI 
Text  by  PIAVE  from  VICTOR  HUGO'S  drama  :  "  Le  roi  s'amuse  " 

No  opera  has  become  popular  in  so  short  a 
time  as  ' '  Eigoletto ' '  in  Italy.  The  music  is  very 
winning  and  is,  like  all  that  Verdi  has  written, 
full  of  exquisite  melodies. 

In  Germany  it  has  not  met  with  the  same 
favor,  which  is  due  in  great  part  to  its  awful 
libretto,  which  is  a  faithful  copy  of  Hugo's 
drama,  and  developed  in  a  truly  dramatic  man- 
ner. The  subject  is,  however,  rather  disgust- 
ing. Excepting  Gilda,  we  do  not  meet  with 
one  noble  character. 

The  Duke  of  Mantua,  a  wild  and  debauched 
youth,  covets  every  girl  or  woman  he  sees,  and 
is  assisted  in  his  vile  purpose  by  his  jester, 
Eigoletto,  an  ugly,  hump-backed  man.  We 
meet  him  first  helping  the  Duke  to  seduce  the 
wife  of  Count  Ceprano,  and  afterward  the  wife 
of  Count  Monterone.  Both  husbands  curse  the 
vile  Eigoletto  and  swear  to  be  avenged.  Monte- 
rone especially,  appearing  like  a  ghost  in  the 
midst  of  a  festival,  hurls  such  a  fearful  curse  at 
them  that  Eigoletto  shudders. 

This  bad  man  has  one  tender  point:  it  is  his 
blind  love   for  his  beautiful  daughter  Gilda, 

376 


Rigoletto 

whom  he  brings  up  carefully,  keeping  her  hid- 
den from  the  world,  and  shielding  her  from  all 
wickedness. 

But  the  cunning  Duke  discovers  her,  and 
gains  her  love  under  the  assumed  name  of  a 
student,  called  Gualtier  Malde. 

Gilda  is  finally  carried  off  by  Ceprano  and 
two  other  courtiers,  aided  by  her  own  father, 
who  holds  the  ladder,  believing  that  Count  Ce- 
prano's  wife  is  to  be  the  victim.  A  mask  blinds 
Rigoletto,  and  he  discovers,  too  late,  by  Gilda's 
cries  that  he  has  been  duped.  Gilda  is  brought 
to  the  Duke's  palace.  Rigoletto  appears  in  the 
midst  of  the  courtiers  to  claim  Gilda,  and  then 
they  hear  that  she,  whom  they  believed  to  be 
his  mistress,  is  his  daughter,  for  whose  honor 
he  is  willing  to  sacrifice  everything.  Gilda 
enters  and,  though  she  sees  that  she  has  been 
deceived,  she  implores  her  father  to  pardon  the 
Duke,  whom  she  still  loves.  But  Rigoletto 
vows  vengeance,  and  engages  Sparaf  ucile  to  stab 
the  Duke.  Sparafucile  decoys  him  into  his  inn, 
where  his  sister  Maddalena  awaits  him.  She, 
too,  is  enamored  of  the  Duke,  who  makes  love 
to  her,  as  to  all  young  females,  and  she  entreats 
her  brother  to  have  mercy  on  him.  Sparafucile 
deolares  that  he  will  wait  until  midnight,  and 
will  spare  him  if  another  victim  should  turn  up 
before  then.  Meanwhile  Rigoletto  persuades 
his  daughter  tq  fly  from   the  Puke's  pursuit, 

377 


The  Standard  Operaglass 

but  before  he  takes  her  away  he  wants  to  show 
her  lover's  fickleness,  in  order  to  cure  her  of 
her  love. 

She  conies  to  the  inn  in  masculine  attire,  and, 
hearing  the  discourse  between  Sparafucile  and 
his  sister,  resolves  to  save  her  lover.  She  en- 
ters the  inn  and  is  instantly  put  to  death,  placed 
in  a  sack  and  given  to  Eigoletto,  who  proceeds 
to  the  river  to  dispose  of  the  corpse.  At  this 
instant  he  hears  the  voice  of  the  Duke,  who 
passes  by,  singing  a  frivolous  tune.  Terrified, 
Eigoletto  opens  the  sack,  and  recognizes  his 
daughter,  who  is  yet  able  to  tell  him  that  she 
gave  her  life  for  that  of  her  seducer,  and  then 
expires.  With  an  awful  cry,  the  unhappy  fa- 
ther sinks  upon  the  corpse.  Count  Monterone's 
curse  has  been  fulfilled. 


EOBERT   LE  DIABLE 

Opera  in  five  acts  by  MEYERBEER 
Text  by  SCRIBE  and  DELAVIGNE 

Though  the  text  which  embodies  the  well- 
known  story  of  Robert  the  Devil,  Duke  of  Nor- 
mandy, is  often  weak  and  involved,  Meyerbeer 
has  understood  in  masterly  fashion  how  to  adapt 
his  music  to  it,  infusing  into  it  dramatic 
strength  and  taking  his  hearer  captive  from 

578 


Robert  le   Diable 

beginning  to  end.  The  instrumentation  is  bril- 
liant, and  the  splendid  parts  for  the  human 
voice  deserve  like  praise.  The  famous  cava- 
tina,  "  Air  of  Grace,"  as  it  is  called,  where  the 
bugle  has  such  a  fine  part,  and  the  duet  in  the 
fourth  act  between  Robert  and  the  Princess 
Isabella,  in  which  the  harp  fairly  rouses  us  to 
wonder  whether  we  are  not  listening  to  celestial 
music,  are  but  two  of  the  enchanting  features 
of  an  opera  in  which  such  passages  abound. 

The  following  are  the  contents  of  the  libretto: 

Robert,  Duke  of  Normandy,  has  a  friend  of 
gloomy  exterior,  named  Bertram,  with  whom 
he  travels,  but  to  whose  evil  influence  he  owes 
much  trouble  and  sorrow.  Without  knowing  it 
himself,  Robert  is  the  son  of  this  erring  knight, 
who  is  an  inhabitant  of  hell.  During  his  wan- 
derings on  earth  he  seduced  Bertha,  daughter 
of  the  Duke  of  Normandy,  whose  offspring 
Robert  is.  This  youth  is  very  wild,  and  has 
therefore  been  banished  from  his  country. 

Arriving  in  Sicily,  Isabella,  the  King's  daugh- 
ter, and  he  fall  mutually  in  love. 

In  the  first  act  we  find  Robert  in  Palermo, 
surrounded  by  other  knights,  to  whom  a  young 
countryman  of  his,  Raimbaut,  tells  the  story  of 
"  Robert  le  Diable "  and  his  fiendish  father, 
warning  everybody  against  them.  Robert,  giv- 
ing his  name,  is  about  to  deliver  the  unhappy 
Raimbaut  to  the  hangman,  when  the  peasant  is 

379 


The  Standard   Operaglass 

saved  by  his  bride  Alice,  Robert's  foster  sister. 
She  has  come  to  Palermo  by  order  of  Robert's 
deceased  mother,  who  sends  her  last  will  to  her 
son,  in  case  he  should  change  his  bad  habits 
and  prove  himself  worthy.  Robert,  feeling 
that  he  is  not  likely  to  do  this,  begs  Alice  to 
keep  it  for  him.  He  confides  in  the  innocent 
maiden,  and  she  promises  to  reason  with  Isa- 
bella, whom  Robert  has  irritated  by  his  jealousy, 
and- who  has  banished  him  from  her  presence. 

As  a  recompense  for  her  service  Alice  asks 
Robert's  permission  to  marry  Raimbaut.  See- 
ing Robert's  friend,  Bertram,  she  recognizes 
the  latter's  likeness  to  Satan,  whom  she  saw  in 
a  picture,  and  instinctively  shrinks  from  him. 
When  she  leaves  her  master,  Bertram  induces 
his  friend  to  try  his  fortune  with  the  dice,  and 
he  loses  all. 

In  the  second  act  we  are  introduced  into  the 
palace  of  Isabella,  who  laments  Robert's  incon- 
stancy. Alice  enters,  bringing  Robert's  letter, 
and  the  latter  instantly  follows  to  crave  his 
mistress's  pardon.  She  presents  him  with  a 
new  suit  of  armor,  and  he  consents  to  meet  the 
Prince  of  Granada  in  mortal  combat.  But 
Bertram  lures  him  away  by  deceiving  him  with 
a  phantom.  Robert  vainly  seeks  the  Prince  in 
the  forest,  and  the  Prince  of  Granada  is  in  his 
absence  victorious  in  the  tournament  and  ob- 
tains Isabella's  hand. 


Robert  le  Diable 

The  third  «,ct  opens  with  a  view  of  the  rocks 
of  St.  Irene,  where  Alice  hopes  to  be  united 
with  Raimbaut.  The  peasant  expects  his  bride, 
but  meets  Bertram  instead,  who  makes  him 
forget  Alice,  by  giving  him  gold  and  dangerous 
advice.  Eaimbaut  goes  away  to  spend  the 
money,  while  Bertram  descends  to  the  evil 
spirits  in  the  deep.  When  Alice  comes,  Raim- 
baut is  gone,  and  she  hears  the  demons  calling 
for  Bertram.  Bertram  extracts  a  promise  from 
her  not  to  betray  the  dreadful  secret  of  the 
cavern.  She  clings  to  the  Saviour's  cross  for 
protection,  and  is  about  to  be  destroyed  by  Ber- 
tram, when  Robert  approaches,  to  whom  she  de- 
cides to  reveal  all.  But  Bertram's  renewed 
threats  at  last  oblige  her  to  leave  them. 

Bertram  now  profits  by  Robert's  rage  and  de- 
spair at  the  loss  of  his  bride,  his  wealth  and  his 
honor,  to  draw  him  on  to  entire  destruction. 
He  tells  Robert  that  his  rival  used  magic  arts, 
and  suggests  that  he  should  try  the  same  ex- 
pedient. Then  he  leads  him  to  a  ruined 
cloister,  where  he  resuscitates  the  guilty  nuns. 
They  try  to  seduce  Robert  first  by  drink,  then 
by  gambling,  and  last  of  all  by  love.  In  the 
last,  Helena,  the  most  beautiful  of  the  nuns, 
succeeds  and  makes  him  remove  the  cypress 
branch,  a  talisman  by  which  in  the  fourth  act 
he  enters  Isabella's  apartment  unseen.  He 
awakes  his  bride   out  of  her  magic  sleep,  to 

381 


The  Standard   Operaglass 

carry  her  off,  but  overcome  by  her  tears  and 
her  appeal  to  his  honor,  he  breaks  the  talis- 
man, and  is  seized  by  the  now  awakened  sol- 
diers; but  Bertram  appears,  and  takes  him  un- 
der his  protection. 

The  fifth  act  opens  with  a  chorus  sung  by 
monks,  which  is  followed  by  a  prayer  for  mercy. 
Robert,  concealed  in  the  vestibule  of  the  cathe- 
dral, hears  it  full  of  contrition.  But  Bertram 
is  with  him,  and,  his  term  on  earth  being  short, 
he  confides  to  Eobert  the  secret  of  his  birth  and 
appeals  to  him  as  his  father. 

He  almost  succeeds,  when  Alice  comes  up, 
bringing  the  news  that  the  Prince  of  Granada 
renounces  Isabella's  hand,  being  unable  to  pass 
the  threshold  of  the  Church.  Bertram  urges 
Eobert  all  the  more  vehemently  to  become  one 
with  him,  suggesting  that  Isabella  is  likewise 
lost  to  him,  who  has  transgressed  the  laws  of 
the  Church,  when  in  the  last  extremity  Alice 
produces  his  mother's  will,  in  which  she  warns 
him  against  Bertram,  entreating  him  to  save 
his  soul.  Then  at  last  his  good  angel  is  victori- 
ous, his  demon-father  vanishes  into  the  earth, 
and  Robert,  united  by  prayer  to  the  others,  is 
restored  to  a  life  of  peace  and  goodness. 


382 


Le  Roi  l'a  Dit 

LE  EOI  L'A  DIT 
(THE   KING   HAS   SAID  IT) 

Comic  Opera  in  three  acts  by  L^ON  D&LIBES 
Text  by  EDMOND  GONDINET 

It  is  impossible  to  imagine  music  more  charm- 
ing or  more  full  of  grace  and  piquancy  than 
that  which  we  find  in  this  delightful  opera. 
Every  part  abounds  in  exquisite  harmonies, 
which  no  words  can  give  any  idea  of.  On  hear- 
ing them  one  is  compelled  to  the  conclusion 
that  all  the  graces  have  stood  godmother  to  this 
lovely  child  of  their  muse. 

The  libretto,  though  on  the  whole  somewhat 
insipid,  is  flavored  with  naive  and  good-natured 
coquetry,  which  lends  a  certain  charm  to  it. 

The  Marquis  de  Moncontour  has  long  wished 
to  be  presented  to  the  King  Louis  XIV.,  and  as 
he  has  been  fortunate  enough  to  catch  the  es- 
caped paroquet  of  Mme.  de  Maintenon,  he  is  at 
last  to  have  his  wish  accomplished.  By  way  of 
preparation  for  his  audience  he  tries  to  learn 
the  latest  mode  of  bowing,  his  own  being  some- 
what antiquated,  and  the  Marquise  and  her  four 
lovely  daughters,  and  even  Javotte,  the  nice  little 
ladies'  maid,  assist  him.  After  many  failures 
the  old  gentleman  succeeds  in  making  his  bow 
to  his  own  satisfaction,  and  he  is  put  into  a  lit- 

383 


The  Standard  Operaglass 

ter,  and  borne  off,  followed  by  his  people's  bene- 
dictions. When  they  are  gone,  Benoit,  a  young 
peasant,  comes  to  see  Javotte,  who  is  bis  sweet- 
heart. He  wishes  to  enter  the  Marquis's  ser- 
vice. Javotte  thinks  him  too  awkward,  but  she 
promises  to  intercede  in  his  favor  with  Miton, 
a  dancing  master,  who  enters  just  as  Benoit 
disappears.  He  has  instructed  the  graceful 
Javotte  in  all  the  arts  and  graces  of  the  noble 
world,  and  when  he  rehearses  the  steps  and  all 
the  nice  little  tricks  of  his  art  with  her,  he  is  so 
delighted  with  his  pupil  that  he  pronounces 
her  manners  worthy  of  a  Princess;  but  when 
Javotte  tells  him  that  she  loves  a  peasant,  he  is 
filled  with  disgust,  and  orders  her  away.  His 
real  pupils,  the  four  lovely  daughters  of  the 
Marquis,  now  enter,  and  while  the  lesson  goes 
on  Miton  hands  a  billet-doux  from  some  lover 
to  each  of  them.  The  two  elder,  Agatha  and 
Chimene,  are  just  in  the.  act  of  reading  theirs, 
when  they  hear  a  serenade  outside,  and  shortly 
afterward  the  two  lovers  are  standing  in  the 
room,  having  made  their  way  through  the  win- 
dow. The  Marquis  Flarembel  and  his  friend, 
the  Marquis  de  la  Bluette,  are  just  making  a 
most  ardent  declaration  of  love,  when  Mme.  la 
Marquise  enters  to  present  to  her  elder  daugh- 
ters the  two  bridegrooms  she  has  chosen  for 
them.  The  young  men  hide  behind  the  ample 
dresses  of  the  young  ladies,  and  all  begin  to 

384 


Le  Roi  l'a  Dit 

sing  with  great  zeal,  Miton  beating  the  meas- 
ure, so  that  some  time  elapses  before  the  Mar- 
quise is  able  to  state  her  errand.  Of  course  her 
words  excite  great  terror,  the  girls  flying  to  the 
other  side  of  the  room  with  their  lovers  and  re- 
ceiving the  two  elderly  suitors,  Baron  de  Mer- 
lussac,  and  Gautru,  a  rich  old  financier,  with 
great  coolness  and  a  refusal  of  their  costly  gifts. 
When  the  suitors  are  gone  the  two  young 
strangers  are  detected,  and  the  angry  mother 
decides  at  once  to  send  her  daughters  to  a  con- 
vent, from  which  they  shall  only  issue  on  their 
wedding  day. 

When  they  have  departed  in  a  most  crest- 
fallen  condition,  the  old  Marquis  returns  from 
his  audience  with  the  King  and  relates  its  as- 
tounding results.  His  Majesty  had  been  so 
peremptory  in  his  questioning  about  the  Mar- 
quis's son  and  heir,  that  the  Marquis,  losing  his 
presence  of  mind,  promised  to  present  his  son 
at  Court  on  the  King's  demand.  The  only 
question  now  is  where  to  find  a  son  to  adopt,  as 
the  Marquis  has  only  four  daughters.  Miton, 
the  ever-useful,  at  once  presents  Benoit  to  the 
parents,  engaging  himself  to  drill  the  peasant 
into  a  nice  cavalier  in  ten  lessons.  Benoit  takes 
readily  to  his  new  position;  he  is  fitted  out  at 
once,  and  when  the  merchants  come,  offering 
their  best  in  cloth  and  finery,  he  treats  them 
with  an  insolence  worthy  of  the  proudest  sei- 
35  385 


The  Standard   Operaglass 

gneur.      He  even  turns   from   his   sweetheart, 
Javotte. 

In  the  second  act  Benoit,  dressed,  like  the 
finest  cavalier,  gives  a  masked  ball  in  his  fa- 
ther's gardens.  Half  Versailles  is  invited,  but, 
having  taken  the  Court  Almanac  to  his  aid,  he 
has  made  the  mistake  of  inviting  many  people 
who  have  long  been  dead.  Those  who  do  ap- 
pear seem  to  him  to  be  very  insipid,  and,  want- 
ing some  friends  with  whom  he  can  enjoy  him- 
self, the  useful  Miton  presents  the  Marquises  de 
la  Bluette  and  de  Flarembel,  who  are  delighted 
to  make  tbe  acquaintance  of  their  sweethearts' 
brother. 

Benoit  hears  from  them  that  he  has  four 
charming  sisters  who  have  been  sent  to  a  con- 
vent, and  he  at  once  promises  to  assist  his  new 
friends.  Meanwhile  Javotte  appears  in  the 
mask  of  an  Oriental  Queen  and  Benoit  makes 
love  to  her,  but  he  is  very  much  stupefied  when 
she  takes  off  her  mask,  and  he  recognizes  Ja- 
votte. She  laughingly  turns  away  from  him, 
when  the  good-for-nothing  youth's  new  parents 
appear,  to  reproach  him  with  his  levity.  But 
Benoit,  nothing  daunted,  rushes  away,  telling 
the  Marquis  that  he  intends  to  visit  his  sisters 
in  the  convent.  Miton  tries  in  vain  to  recall 
him.  Then  the  two  old  suitors  of  Agathe  and 
Chimene  appear,  to  complain  that  their  deceased 
wife  and  grandmother  were  invited,  and  while 

386 


Le  Roi  l'a  Dit 

the  Marquis  explains  his  son's  mistake,  the  four 
daughters  rush  in,  having  been  liberated  by 
their  lovers  and  their  unknown  brother,  whom 
they  greet  with  a  fondness  very  shocking  to  the 
old  Marchioness.  The  elderly  suitors  withdraw, 
swearing  to  take  vengeance  on  the  inopportune 
brother. 

In  the  last  act  Benoit  appears  in  his  father's 
house  in  a  somewhat  dilapidated  state.  He  has 
spent  the  night  amongst  gay  companions  and 
met  Gautru  and  de  Merlussac  successively,  who 
have  both  fought  him  and  believe  they  have 
killed  him,  Benoit  having  feigned  to  be  dead 
on  the  spot. 

When  the  old  Marquis  enters,  he  is  very  much 
astonished  at  receiving  two  letters  of  condolence 
from  his  daughters'  suitors.  Miton  appears  in 
mourning,  explaining  that,  Mme.  de  Mainte- 
non's  visit  being  expected,  they  must  all  wear 
dark  colors,  as  she  prefers  these.  Meanwhile 
Benoit  has  an  interview  with  Javotte,  in  which 
he  declares  his  love  to  be  undiminished,  and  he 
at  once  asks  his  father  to  give  him  Javotte  as 
his  wife,  threatening  to  reveal  the  Marquis's 
deceit  to  the  King  if  his  request  is  not  granted. 
In  this  dilemma  help  comes  in  the  persons  of 
the  two  young  Marquises,  who  present  their 
King's  condolences  to  old  Moncontour.  This 
gentleman  hears  to  his  great  relief  that  his  son 
is  supposed  to  have  fallen  in  a  duel,  and  so  he 

387 


The  Standard  Operaglass 

is  disposed  of.  Nobody  is  happier  than  Ja- 
votte,  who  now  claims  Benoit  for  her  own, 
while  the  Marquis,  who  receives  a  Duke's  title 
from  the  King  in  compensation  for  his  loss, 
gladly  gives  his  two  elder  daughters  to  their 
young  and  noble  lovers. 

The  girls,  well  aware  that  they  owe  their  hap- 
piness to  their  adopted  brother,  are  glad  to  pro- 
vide him  with  ample  means  for  his  marriage 
with  Javotte,  and  the  affair  ends  to  everybody's 
satisfaction. 


ROMEO   E   GIULIETTA 

Grand  Opera  in  five  acts  by  CH.  GOUNOD 
Text  by  BARBEER  and  CARRE 

This  highly  favored  opera  by  Gounod  presents 
much  that  is  worthy  of  admiration,  though  it 
does  not  rise  to  the  high  level  of  his  "  Marguer- 
ite "  ("Faust").  The  libretto  follows  Shake- 
speare's version  pretty  accurately. 

The  first  act  opens  with  the  masked  ball  in 
Capuletti's  palace,  where  the  first  meeting  be- 
tween the  lovers  takes  place,  Eomeo  being  dis- 
guised as  a  pilgrim.  They  fall  in  love  with  each 
other,  and  Tybalt,  Capulet's  nephew,  recogniz- 
ing Eomeo,  reveals,  bnt  too  late,  their  true 
names  and  swears  to  take  revenge  on  his  foe, 

3S8 


Romeo  e  Giulietta 

who  has  thus  entered  the  Capulet's  house  unin- 
vited. 

The  second  act  represents  the  famous  scene 
on  the  balcony  between  Juliet  and  her  lover. 

In  the  third  act  Romeo  visits  Friar  Lorenzo's 
cell,  to  get  advice  from  him.  There  he  meets 
Juliet.  Lorenzo  unites  the  lovers,  hoping  there- 
by to  reconcile  the  hostile  houses  of  the  Mon- 
tagus and  the  Capulets. 

The  following  scene  represents  the  street  be- 
fore Capulet's  palace,  where  the  rivals  meet; 
there  ensues  the  double  duel,  first  between  Ty- 
balt and  Romeo's  friend  Mercutio,  who  falls, 
and  then  between  Romeo,  who  burus  to  avenge 
his  comrade,  and  Tybalt.  Tybalt  is  killed,  and 
Romeo  is  obliged  to  fly,  all  the  Capulets  being 
after  him. 

In  the  fourth  act  Romeo  sees  Juliet  in  her 
room,  but  when  the  morning  dawns  he  is  obliged 
to  leave,  while  Juliet's  father  comes  to  remind 
her  of  his  last  promise  to  the  dying  Tybalt, 
which  was  to  marry  Juliet  to  Count  Paris. 

Juliet  in  great  perplexity  turns  to  Friar  Lo- 
renzo for  help.  He  gives  her  a  draught  which 
will  cause  her  to  fall  into  a  deep  swoon,  and 
after  being  laid  in  her  ancestors'  tomb  she  is  to 
be  awakened  by  Romeo  and  carried  away  into 
security. 

In  the  fifth  act  Romeo,  after  having  taken 
poison,  enters  the  tomb  to  bid  farewell  to  Juliet, 

389 


The  Standard  Operaglass 

whom  he,  by  a  fatal  misunderstanding,  believes 
to  be  dead.  She  awakes,  and  seeing  her  bride- 
groom die  before  her  eyes,  she  stabs  herself,  to 
be  united,  with  her  lover  in  death,  if  not  in  life. 


IL   SERAGLIO 

Opera  in  three  acts  by  MOZART 
Text  after  BEETZNER  by  G.  STEPHANIE 

Mozart  modestly  called  this  opera  a  vaude- 
ville (in  German,  Singspiel).  They  were  the 
fashion  toward  the  end  of  the  last  century,  but 
"  II  Seraglio  "  ranks  much  higher,  and  may  be 
justly  called  a  comic  opera  of  the  most  pleasing 
kind.  The  music  is  really  charming,  both  fresh 
and  original. 

The  libretto  is  equally  happy.  It  particularly 
inspired  Mozart,  because  given  him  by  the  Em- 
peror Joseph  II.  at  the  time  when  he,  Mozart, 
a  happy  bridegroom,  was  about  to  conduct  into 
his  home  his  beloved  Constanze.  The  story  is 
as  follows: 

Constauza,  the  betrothed  bride  of  Belmonte, 
is  with  her  maid  Bionda  (Blondchen)  and  Pe- 
drillo,  Belmonte's  servant,  captured  by  pirates. 
All  three  are  sold  as  slaves  to  Selim  Pasha,  who 
keeps  the  ladies  in  his  harem,  taking  Constanza 

390 


II  Seraglio 

for  himself  and  giving  Bionda  to  his  overseer 
Osmin.  Pedrillo  has  found  means  to  inform 
his  master  of  their  misfortune,  and  Belmonte 
comes  seeking  entrance  to  the  Pasha's  villa  in 
the  guise  of  an  artist.  Osmin,  who  is  much  in 
love  with  Bionda,  though  she  treats  him 
haughtily,  distrusts  the  artist  and  tries  to  inter- 
fere. But  Pedrillo,  who  is  gardener  in  the 
Pasha's  service,  frustrates  Osmin's  purpose  and 
Belmonte  is  engaged.  The  worthy  Pasha  is 
quite  infatuated  with  Constanza,  and  tries  hard 
to  gain  her  affections.  But  Constanza  has  sworn 
to  be  faithful  till  death  to  Belmonte,  and  great 
is  her  rapture  when  Bionda  brings  the  news 
that  her  lover  is  near. 

With  the  help  of  Pedrillo,  who  manages  to 
intoxicate  Osmin,  they  try  to  escape,  but  Osmin 
overtakes  them  and  brings  them  back  to  the 
Pasha,  who  at  once  orders  that  they  be  brought 
before  him.  Constanza,  advancing  with  noble 
courage,  explains  that  the  pretended  artist  is 
her  lover,  and  that  she  will  rather  die  with  him 
than  leave  him.  Selim  Pasha,  overwhelmed  by 
this  discovery,  retires  to  think  about  what  he 
shall  do,  and  his  prisoners  prepare  for  death, 
Belmonte  and  Constanza  with  renewed  tender 
protestations  of  love,  Pedrillo  and  Bionda  with- 
out either  fear  or  trembling. 

Great  are  their  happiness  and  Osmin's  wrath 
when  the  noble  Pasha,  touched  by  their  con- 

391 


The  Standard   Operaglass 

stancy,  sets  them  free,  and  asks  for  their  friend- 
ship, bidding  them  remember  him  kindly  after 
their  return  into  their  own  country. 


SIEGFKIED 

Second  day  of  the  Nibelungen  Ring  by  WAGNER 
Musical  Drama  in  three  acts 

The  first  act  represents  a  part  of  the  forest 
where  Fafner  guards  the  Ehinegold  and  where 
Sieglinda  has  found  refuge.  We  find  her  son 
Siegfried — to  whom  when  she  was  dying  she 
gave  birth — in  the  rocky  cave  of  Mime  the  Ni- 
belung,  brother  of  Alberich,  who  has  brought 
up  the  child  as  his  own,  knowing  that  he  is 
destined  to  slay  Fafner  and  to  gain  the  ring, 
which  he  covets  for  himself.  Siegfried,  the 
brave  and  innocent  boy,  instinctively  shrinks 
from  this  father,  who  is  so  ugly,  so  mean  and 
vulgar,  while  he  has  a  deep  longing  for  his  dead 
mother,  whom  he  never  knew.  He  gives  vent 
to  these  feelings  in  impatient  questions  about 
her.  The  dwarf  answers  unwillingly  and  gives 
him  the  broken  pieces  of  the  old  sword  Nothung 
(needful),  which  his  mother  left  as  the  only  pre- 
cious remembrance  of  Siegfried's  father. 

Siegfried  asks  Mime  to  forge  the  fragments 
afresh,  while  he  rushes  away  into  the  woods. 

392 


Siegfried 

During  his  absence  Wotan  comes  to  Mime  in 
the  guise  of  a  wanderer.  Mime,  though  he 
knows  him  not,  fears  him,  and  would  fain  drive 
him  away.  Finally  he  puts  three  questions  to 
his  guest.  The  first  is  the  name  of  the  race 
which  lives  in  earth's  deepest  depths,  the  sec- 
ond the  name  of  those  who  live  on  earth's  back, 
and  the  third  that  of  those  who  live  above  the 
clouds.  Of  course  Wotan  answers  them  all,  re- 
deeming his  head  and  shelter  thereby;  but  now 
it  is  his  turn  to  put  three  questions.  He  first  asks 
what  race  it  is  that  Wotan  loves  most,  though 
he  dealt  hardly  with  them,  and  Mime  answers 
rightly  that  they  are  the  Waelsungs,  whose 
son  Siegfried  is;  then  Wotan  asks  after  the 
sword  which  is  to  make  Siegfried  victorious. 
Mime  joyously  names  "Nothung,"  but  when 
Wotan  asks  him  who  is  to  unite  the  pieces  he 
is  in  great  embarrassment,  for  he  remembers  his 
task  and  perceives  too  late  what  question  he 
ought  to  have  asked.  Wotau  leaves  him,  tell- 
ing him  that  only  that  man  can  forge  it  who 
never  knew  fear.  Siegfried,  finding  the  sword 
still  in  fragments  when  he  returns,  melts  these 
in  fire,  and  easily  forges  them  together,  to 
Mime's  great  awe,  for  he  sees  now  that  this  boy 
is  the  one  whom  the  stranger  has  meant. 

In  the  second  scene  we  see  the  opening  of 
Fafner's  cavern,  where  Alberich  keeps  watch 
for  the  dragon's  slayer,  so  long  predicted. 

393 


The  Standard  Operaglass 

Wotan,  approaching,  warns  him  that  Al- 
berich's  brother  Mime  has  brought  up  the  boy 
who  is  to  slay  Fafner,  in  the  hope  of  gaining 
Alberich's  ring,  the  wondrous  qualities  of  which 
are  unknown  to  Siegfried. 

Wotan  awakes  Fafner,  the  dragon,  telling 
him  that  his  slayer  is  coming. 

Mime,  who  has  led  Siegfried  to  this  part  of 
the  forest  under  the  pretext  of  teaching  him 
fear,  approaches  now,  and  Siegfried,  eager  for 
combat,  kills  the  dreadful  worm.  Accidentally 
tasting  the  blood,  he  all  at  once  understands 
the  language  of  the  birds.  They  tell  him  to 
seek  for  the  Tarnhelm  and  for  the  ring,  which 
he  finds  in  the  cavern.  Meanwhile  the  broth- 
ers, Alberich  and  Mime,  quarrel  over  the  treas- 
ure, which  they  hope  to  gain.  When  Siegfried 
returns  with  ring  and  helmet  he  is  again 
warned  by  the  voice  of  a  wood-bird  not  to  trust 
in  Mime.  Having  tasted  the  dragon's  blood, 
Siegfried  is  enabled  to  probe  Mime's  inner- 
most thoughts,  and  so  learns  that  Mime  means 
to  poison  him,  in  order  to  obtain  the  treasure. 
He  then  kills  the  traitor  with  a  single  stroke. 
Stretching  himself  under  the  linden-tree  to  re- 
pose after  that  day's  hard  work,  he  again  hears 
the  voice  of  the  wood-bird,  which  tells  him  of 
a  glorious  bride,  sleeping  on  a  rock  surrounded 
by  fire;  and  flying  before  him,  the  bird  shows 
Siegfried  the  way  to  the  spot. 

394 


Silvana 

In  the  third  scene  we  find  Wotan  once  more 
awakening  Erda,  to  seek  her  counsel  as  to  how 
best  to  avert  the  doom  which  he  sees  coming, 
but  she  is  less  wise  than  he  and  so  he  decides  to 
let  fate  have  its  course.  When  he  sees  Sieg- 
fried coming,  he  for  the  last  time  tries  to  oppose 
him  by  barring  the  way  to  Briinnhilde,  but  the 
sword  Nothung  splits  the  god's  spear.  Seeing 
that  his  power  avails  him  nothing  he  retires 
to  Walhalla,  there  to  await  the  "Dusk  of  the 
Gods." 

Siegfried  plunges  through  the  fire,  awakes 
the  Walkyrie,  and  after  a  long  resistance  wins 
the  proud  virgin. 


SILVANA 

Romantic  Opera  in  four  acts  by  WEBER 
Text  by  ERNST  PASQUE 

This  opera  was  left  unfinished  by  Weber.  It 
has,  however,  recently  been  completed,  the  text 
by  Ernst  Pasque,  and  the  music  by  Ferdinand 
Langer,  who  rearranged  the  manuscript  with 
loving  care,  interweaving  different  compositions 
from  Weber,  as,  for  instance,  his  "  Invitation  a 
la  valse  "  and  his  "  Polonaise,"  which  are  dex- 
terously introduced  into  the  ballet  of  the  second 
act. 

395 


The  Standard  Operaglass 

The  action  is  taken  from  an  old  German 
legend  which  comes  to  us  from  the  land  of  the 
Rhine.  There  we  may  still  find  the  ruins  of 
the  two  castles  Sternberg  and  Liebensteiu. 

Of  these  our  legend  says  that  they  belonged 
to  two  brothers,  who  hated  each  other,  for  the 
one,  Boland,  loved  his  brother's  bride  and  was 
refused  by  her.  By  way  of  revenge  he  slew  his 
brother  and  burned  down  his  castle.  But  in 
the  fray  the  wife  he  coveted  disappeared  with 
her  child,  and  both  were  supposed  to  have  per- 
ished in  the  flames. 

Since  then  Boland  has  fallen  into  deep  melan- 
choly, and  the  consequences  of  his  dreadful 
deed  have  never  ceased  to  torment  him.  His 
only  son,  who  lost  his  mother  in  early  child- 
hood, has  grown  ujd  solitary,  knowing  nothing 
of  woman's  sweetness,  of  peace  and  happiness. 
His  only  passion  is  the  hunt.  He  has  grown 
into  manhood,  and  his  father  and  his  vassals 
wish  him  to  marry,  but  never  yet  has  he  found 
a  woman  who  has  touched  his  heart  with  love. 

In  the  beginning  of  the  first  act  we  see  him 
hunting  in  the  forest.  He  has  lost  his  way  and 
his  companions,  and  finds  himself  in  a  spot 
which  he  has  never  before  seen.  A  beautiful 
maiden  comes  out  of  a  small  cottage,  and  both 
fall  in  love  at  first  sight.  The  returning  collier 
would  fain  keep  his  only  child,  who  has  not  yet 
seen  anything  of  the  world;  but  the  nymph  of 

396 


Silvana 

the  forest,  Silvana's  protectrice,  beckons  him 
away.  When  at  length  the  Count's  fellow- 
hunters  find  him,  he  presents  Silvana  to  them 
as  his  bride.  The  unfortunate  collier  is  made 
drunk  with  wine,  and  during  his  sleep  they 
take  his  daughter  away  to  the  castle  of  the  old 
Rhinegrave. 

But  Silvana  is  protected  in  the  new  world  into 
which  she  enters  by  the  nymph,  who  follows 
her  in  the  guise  of  a  young  minstrel.  The  old 
Count,  hearing  of  his  son's  resolution,  is  quite 
willing  to  receive  the  bride,  and  even  consents 
to  go  to  the  peasants'  festival  and  look  at  the 
dancing  and  frolicking  given  in  honor  of  his 
son's  bridal. 

There  we  find  Ratto,  the  collier,  who  seeks 
his  daughter  Silvana,  telling  everybody  that 
robbers  took  her  away  from  him,  and  beseech- 
ing help  to  discover  her.  Meanwhile  Silvana 
arrives  in  rich  and  costly  attire  between  Gerold, 
the  young  Count,  and  the  old  Rhinegrave.  The 
latter,  attracted  by  her  fairness  and  iunocence, 
has  welcomed  her  as  his  daughter  without  ask- 
ing for  antecedents.  When  the  dances  of  the 
villagers  have  ended,  the  nymph  enters  in  the 
guise  of  a  minstrel,  asking  to  be  allowed  to  sing 
to  the  hearers,  as  was  the  custom  on  the  banks 
of  the  Rhine. 

She  begins  her  ballad,  the  contents  of  which 
terrify  the  Rhinegrave,  for  it  is  his  own  awful 

397 


The  Standard   Operaglass 

deed  which  he  hears.  Springing  up,  he  drawB 
his  sword  against  the  minstrel,  but  Silvana 
rises,  protecting  him  with  outstretched  arms. 
All  are  stupefied;  Gerold  looks  with  suspicion 
on  his  bride,  hanging  on  the  breast  of  the 
stranger.  He  asks  for  an  explanation,  but  Sil- 
vana is  silent.  It  is  part  of  her  trial,  not  to 
betray  the  nymph.  At  the  same  moment  Eatto, 
the  collier,  recognizes  and  claims  Silvana  as  his 
daughter.  Everybody  now  looks  with  contempt 
on  the  low-born  maiden,  and  the  Ehinegrave 
commands  them  to  be  put  into  prison;  but 
Gerold,  believing  in  his  bride's  innocence, 
though  appearances  are  against  her,  entreats 
her  once  more  to  defend  herself.  Silvana  only 
asserts  her  innocence  and  her  love  for  Gerold, 
but  will  give  no  proofs.  So  the  collier  and  his 
daughter  and  the  minstrel  are  taken  to  prison. 
But  when  the  keeper  opens  the  door  in  the 
morning  the  minstrel  has  disappeared. 

The  old  Count,  disgusted  at  the  idea  of  his 
son's  union  with  a  collier's  daughter,  accuses 
her  of  being  a  sorceress.  He  compels  her  to 
confess  that  she  seduced  his  son  by  magic  arts, 
and  Silvana  consents  to  say  anything  rather 
than  injure  her  lover.  She  is  conducted  before 
a  court  and  condemned  to  the  funeral  pile. 
Gerold,  not  once  doubting  her,  is  resolved  to 
share  her  death,  when  in  the  last  critical  mo- 
ment the  minstrel  once  more  raises  his  voice  and 

398 


The  Sold   Bride 

finishes  the  ballad  which  the  Rhinegrave  had 
interrupted  so  violently.  He  tells  the  aston- 
ished hearers  that  the  wife  and  daughter  of  the 
Count,  who  was  slain  by  his  brother,  were  not 
burned  in  the  castle,  but  escaped  to  the  forest, 
finding  kindly  refuge  iu  a  poor  collier's  hut, 
where  the  mother  died,  leaving  her  child,  Sil- 
vana,  under  his  protection. 

The  Rhinegrave,  full  of  remorse,  embraces 
Silvana,  beseeching  her  forgiveness,  and  the 
lovers  are  united. 


THE   SOLD  BRIDE 

Comic  Opera  in  three  acts  by  FR.  SMETANA 

Libretto  by  K.  SABINA 

German  test  by  MAX  KALBECK 

Poor  Smetana!  Nature  had  put  on  his  brow 
the  6tamp  of  genius,  but  he  never  lived  to  see 
his  glory.  After  grief  and  sorrow  and  direst 
need  he  died  in  a  mad  house,  and  now  posterity 
heaps  laurels  on  his  grave.  "  The  Sold  Bride  " 
has  been  represented  in  Prague  over  300  times, 
and  it  begins  to  take  possession  of  every  noted 
stage  in  Europe. 

The  subject  forms  a  simple  village  idyll,  with- 
out any  strong  contrasts.    Its  ethical  motive  lies 

399 


The  Standard  Operaglass 

in  its  representation  of  quaint  old  customs  and  in 
the  deep-rooted  patriotic  love;  but  the  whole 
opera  is  literally  steeped  in  euphony. 

The  overture  has  its  equal  only  in  "Figaro," 
and  a  perfect  stream  of  national  airs  flows 
through  the  wrhole. 

The  first  chorus,  "  See  the  buds  open  on  the 
bush,"  is  most  original,  the  national  dance  in 
the  second  act  is  full  of  fire,  and  the  rope- 
dancers'  march  is  truly  Slavonic  in  its  quaint- 
ness. 

The  scene  is  laid  in  a  village  in  Bohemia.  It 
is  Spring-Kirmess,  and  everybody  is  gay.  Only 
Mary,  the  daughter  of  the  rich  peasanb  Krusch- 
ina,  carries  a  heavy  heart  within  her,  for  the 
day  has  come  on  which  the  unknown  bride- 
groom, chosen  by  her  parents,  will  claim  her 
hand .  She  loves  Hans,  known  to  her  as  a  poor 
servant,  who  has  come  to  her  village  lately,  and 
who  is  in  reality  her  bridegroom's  half-brother. 
He  consoles  her,  beseeching  her  to  cheer  up  aud 
be  faithful  to  him,  and  then  tells  her  that  he 
comes  of  wealthy  people.  Having  lost  his  moth- 
er early,  his  father  wedded  a  second  Avife,  who 
estranged  his  heart  from  the  poor  boy  so  that 
he  had  to  gain  his  daily  bread  abroad.  She 
deeply  sympathizes  with  him,  without  guessing 
his  real  name. 

Meanwhile,  Mary's  parents  approach  with  the 
matchmaker,   Kezul,   a  personage   common  in 

400 


The  Sold  Bride 

Bohemia,  who  has  already  won  Kruscliina's  con- 
sent to  his  daughter's  marriage  with  Wenzel, 
son  of  the  rich  farmer  Micha  by  a  second  mar- 
riage. Mary's  mother  insisting  that  her  child's 
will  is  to  be  consulted  before  all,  the  father 
consents  to  let  her  see  the  bridegroom  before 
she  decides.  Kezul,  though  angry  at  this  un~ 
looked  for  obstacle,  excuses  the  bridegroom's 
absence  volubly,  and  sings  his  praise  loudly,  at 
the  same  time  touching  upon  the  elder  son's 
absence,  and  hinting  that  he  may  probably  be 
dead.  When  Mary  steps  in,  Kezul  wooes  her  in 
due  form,  but  is  at  once  repulsed  by  her.  The 
young  girl  owns  to  having  given  her  heart  to 
the  humble  servant  Hans,  in  whom  nobody  has 
yet  recognized  Micha's  son.  Father  Kruschina 
angrily  asserts  his  promise  to  Kezul,  cursing 
Wenzel's  timidity,  which  hindered  him  from 
making  his  proposal  in  person.  Kezul,  how- 
ever, resolves  to  talk  Hans  over  to  reason. 

We  find  him  in  the  second  act,  singing  and 
highly  praising  the  god  of  love.  Afterward 
the  would-be  bridegroom,  Wenzel,  finds  him- 
self face  to  face  with  Mary,  whom  he  does  not 
know.  When  he  tells  her  of  his  purpose, 
timidly  and  stammeringly,  she  ask  him  if  he  is 
not  ashamed  to  woo  a  girl  who  loves  another 
man,  and  who  does  not  love  him  in  the  least. 
She  at  last  so  frightens  the  lad  that  he  prom- 
ises to  look  out  for  another  bride,  if  his  mother 
26  401 


The  Standard  Operagiass 

permits  it.  Mary  flirts  with  him,  until  he 
swears  never  to  claim  Kruschina's  daughter. 
Meanwhile  Kezul  does  his  best  to  convert  Hans. 
He  promises  to  provide  for  him  another  bride, 
much  richer  than  Mary,  but  Hans  refuses. 
He  offers  him  money,  first  one,  then  two,  then 
three  hundred  florins.  Hans,  looking  incredu- 
lous, asks:  "For  whom  are  you  wooing  my 
bride  ?  "  "  For  Micha's  son,"  the  matchmaker 
replies.  "Well,"  says  Hans,  "if  you  promise 
me  that  Micha's  son  shall  have  her,  and  no 
other,  I  will  sign  the  contract,  and  I  further 
stipulate  that  Micha's  father  shall  have  no  right 
to  reclaim  the  money  later;  he  is  the  one  to 
bear  the  whole  costs  of  the  bargain."  Kezul 
gladly  consents  and  departs  to  fetch  the  wit- 
nesses, before  whom  Hans  once  more  renounces 
his  bride  in  favor  of  Micha's  son.  He  coolly 
takes  the  money,  at  which  they  turn  from  him 
in  disgust,  and  signs  his  name  Hans  Ehrentraut 
at  the  foot  of  the  document. 

The  third  act  opens  with  a  performance  by 
tight-rope  dancers.  Wenzel,  who  has  been 
quite  despondent  about  his  promised  brid,e,  is 
enraptured  by  their  skill.  He  especially  ad- 
mires the  Spanish  dancer  Esmeralda,  who  be- 
witches him  so  entirely  that  he  wooes  her.  The 
director  of  the  band,  being  in  want  of  a  dancing 
bear,  is  not  loath  to  take  advantage  of  the  lad's 
foolishness.     He  engages  him  as  a  dancer,  and 

402 


The  Sold   Bride 

easily  overcomes  Wenzel's  scruples  by  promis- 
ing him  Esmeralda's  hand.  Just  when  they 
are  putting  him  in  bear's  skin,  his  parents  ap- 
pear on  the  scene  with  the  marriage  contract. 
To  their  great  dismay  he  refuses  to  sign  it,  and 
when  pressed  runs  away.  Meanwhile,  Mary 
has  heard  of  her  lover's  fickleness,  which  she 
would  fain  disbelieve,  but,  alas!  Kezul  shows 
her  the  document  by  which  Hans  renounces 
her.  ^Nevertheless,  she  refuses  to  wed  any  other 
man  than  the  one  her  heart  has  chosen.  "Wen- 
zel,  approaching  again  and  recognizing  in  Mary 
the  bride  he  had  renounced,  is  now  quite  sorry 
to  give  her  up,  and  very  willing  to  take  her  if 
6he  will  only  yield.  Mary,  praying  to  be  left 
alone  for  a  little  while,  abandons  herself  to  her 
grief  and  is  thus  found  by  Hans,  whom  she  bit- 
terly reproaches  for  his  faithlessness.  But  he 
only  smiles,  and  recalls  the  whole  chorus,  coolly 
saying  that  it  is  his  wish  that  Mary  should  wed 
Micha's  son.  That  is  too  much  for  poor  Mary's 
feelings.  She  declares  that  she  is  ready  to  do  as 
they  wish,  but  before  she  signs  the  contract 
Hans  steps  forth  in  full  view  of  his  parents, 
who  at  last  recognize  in  him  their  long-lost 
eldest  son.  Though  his  stepmother,  Agnes,  is 
in  a  rage  about  his  trick,  he  claims  his  rights  as 
son  and  heir,  and  the  bride,  of  course,  is  not 
loath  to  choose  between  the  two  brothers.  Kezul, 
the  matchmaker,  retires  shamefaced,  and  when 

403 


The  Standard   Operaglass 

Wenzel  shows  himself  iu  the  last  scene  as  a 
dancing  bear,  and  stammeringly  assures  the 
laughing  public  that  they  need  not  be  afraid  of 
him,  as  he  is  "  not  a  bear  but  only  Wenzel,"  the 
final  blow  is  dealt  whereby  he  loses  all  favor  in 
the  eyes  of  Kruschina,  who  is  now  quite  recon- 
ciled, to  give  his  daughter  to  Micha's  elder  son. 


LA  SONNAMBULA 

Opera  in  two  acts  by  VINCENZO  BELLINI 
Text  by  FELICE  ROMANI. 

This  opera  is  decidedly  of  the  best  of  Bellini's 
muse.  Though  it  does  not  reach  the  standard 
of  "Norma,"  its  songs  are  so  rich  and  melo- 
dious that  they  seem  to  woo  the  ear  and  cannot 
be  heard  without  pleasure. 

Add  to  these  advantages  a  really  fine  as  well 
as  touching  libretto,  and  it  may  be  easily  under- 
stood why  the  opera  has  not  yet  disappeared 
from  the  stage  repertory,  though  composed 
more  than  fifty  years  ago. 

It  is  a  simple  village-peasant  story  which  we 
have  to  relate.  The  scene  of  action  is  a  village 
in  Switzerland,  where  the  rich  farmer  El  vino 
has  married  a  poor  orphan,  Amina.  The  cere- 
mony has  taken  place  at  the  magistrate's,  and 
Elvino  is  about  to  obtain  the  sanction  of  the 

404 


La  Sonnambula 

church  to  his  union,  when  the  owner  of  the  cas- 
tle, Count  Kudolph,  who  fled  from  home  in  his 
boyhood,  returns  most  unexpectedly  and,  at 
once  making  love  to  Amina,  excites  the  bride- 
groom's jealousy.  Lisa,  the  young  owner  of  a 
little  iun,  who  wants  Elvino  for  herself  and  dis- 
dains the  devotion  of  Alexis,  a  simple  peasant, 
tries  to  avenge  herself  on  her  happy  rival.  Lisa 
is  a  coquette  and  flirts  with  the  Count,  whom 
the  judge  recognizes.  While  she  yet  prates  with 
him,  the  door  opens,  and  Amina  enters,  walk- 
ing in  her  sleep  and  calling  for  Elvino.  Lisa 
conceals  herself,  but  forgets  her  handkerchief. 
The  Count,  seeing  Amina's  condition  and  awed 
by  her  purity,  quits  the  room,  where  Amina  lieb 
down,  always  in  deep  sleep.  Just  then  the  peo- 
ple, having  heard  of  the  Count's  arrival,  come 
to  greet  him  and  find  Amina  instead.  At  the 
same  moment  Elvino,  summoned  by  Lisa,  rushes 
in,  and  finding  his  bride  in  the  Count's  room 
turns  away  from  her  in  disdain,  snatching  his 
wedding  ring  from  her  finger  in  his  wrath,  and 
utterly  disbelieving  Amina's  protestations  of  in- 
nocence and  the  Count's  assurances.  Lisa  suc- 
ceeds in  attracting  Elvino's  notice  and  he  prom- 
ises to  marry  her. 

The  Count  once  more  tries  to  persuade  the 
angry  bridegroom  of  his  bride's  innocence,  but 
without  result,  when  Teresa,  Amina's  foster- 
mother,  shows  Lisa's  handkerchief,  which  was 

405 


The  Standard   Operaglass 

found  in  the  Count's  room.  Lisa  reddens,  and 
El  vino  knows  not  whom  he  shall  believe,  when 
all  of  a  sudden  Amina  is  seen,  emerging  from  a 
window  of  the  mill,  walking  in  a  trance,  and 
calling  for  her  bridegroom  in  most  touching 
accents. 

All  are  convinced  of  her  innocence  when  they 
see  her  in  this  state  of  somnambulism,  in  which 
she  crosses  a  very  narrow  bridge  without  fall- 
ing. Elvino  himself  replaces  the  wedding  ring 
on  her  finger,  and  she  awakes  from  her  trance 
in  his  arms.  Everybody  is  happy  at  the  turn 
which  things  have  taken;  Elvino  asks  Amina's 
forgiveness  and  leaves  Lisa  to  her  own  bitter 
reflections. 


THE   TAMING  OF  THE   SHEEW 

Comic  Opera  in  four  acts  by  HERMANN  GOETZ 
Text  done  after  Shakespeare's  comedy  by  J.  V.  WIDMANN 

This  beautiful  opera  is  the  only  one  which 
the  gifted  young  composer  left  complete,  for  he 
died  of  consumption  in  his  early  manhood.  His 
death  is  all  the  more  to  be  lamented,  as  this 
composition  shows  a  talent  capable  of  perform- 
ances far  above  the  average.  Its  melodies  are 
very  fresh  and  winning,  and  above  all  original. 

As  the  subject  of  the  libretto  is  so  generally 

40$ 


The  Taming  of  the  Shrew 

known,  it  is  not  necessary  to  do  more  than 
shortly  epitomize  here.  Of  the  libretto  itself, 
however,  it  may  be  remarked,  in  passing,  that  it 
is  uncommonly  well  done;  it  is  in  rhymes  which 
are  harmonious  and  well  turned.  The  transla- 
tion is  quite  free  and  independent,  but  the  sense 
and  the  course  of  action  are  the  same,  though 
somewhat  shortened  and  modified,  so  that  we 
only  find  the  chief  of  the  persons  we  so  well 
know. 

Kate  is  the  same  headstrong  young  lady, 
though  she  does  not  appear  in  a  very  bad  light, 
her  wilfulness  being  the  result  of  maidenly  pride, 
which  is  ashamed  to  appear  weak  before  the 
stronger  sex.  She  finds  her  master  in  Petru- 
chio,  however,  and  after  a  hard  and  bitter  fight 
with  her  feelings  she  at  last  avows  herself  con- 
quered, less  by  her  husband's  indomitable  will 
than  by  her  love  for  him,  which  acknowledges 
him  as  her  best  friend  and  protector. 

Then  her  trials  are  at  an  end,  and  when  her 
sister  Bianca,  and  her  young  husband,  Lucentio, 
and  her  father,  Baptista,  visit  her,  they  are  wit- 
nesses of  the  perfect  harmony  and  peace  which 
reign  in  Kate's  home. 


407 


The  Standard  Operaglass 
TANNHAUSEK 

Romantic  Opera  in  three  acts  by  RICHARD  WAGNER 

"With  this  opera  begins  a  new  era  in  the  his- 
tory of  the  German  theatre.  "  Tannhauser  "  is 
more  a  drama  than  an  opera;  every  expression 
in  it  is  highly  dramatic.  The  management  of  the 
orchestra,  too,  is  quite  different  from  anything 
hitherto  experienced;  it  dominates  everywhere, 
the  voice  of  the  performer  being  often  only  an 
accompaniment  to  it.  "  Tannhauser  "  is  the  first 
opera,  or,  as  Wagner  himself  called  it,  drama,  of 
this  kind,  and  written  after  this  one  all  Wag- 
ner's works  bear  the  same  stamp. 

Wagner  took  his  subject  from  an  old  legend, 
which  tells  of  a  minstrel  called  Tannhauser 
(probably  identical  with  Heinrich  von  Ofter- 
dingen),  who  won  all  prizes  by  his  beautiful 
songs  and  all  hearts  by  his  noble  bearing.  So 
the  palm  is  allotted  to  him  at  the  yearly 
"Tournament  of  Minstrels  "  on  the  Wartburg, 
and  his  reward  is  to  be  the  hand  of  Elizabeth, 
niece  of  the  Landgrave  of  Thuringia,  whom  he 
loves.  But  instead  of  behaving  sensibly  this 
erring  knight  suddenly  disappears,  nobody  knows 
where,  leaving  his  bride  in  sorrow  and  anguish. 
He  falls  into  the  hands  of  Yenus,  who  holds 
court  in  the  Horselberg,  near  Eisenach,  and 
Tannhauser,  at  the  opening  of  the  first  scene, 

408 


Tannhauser 

has  already  passed  a  whole  year  with  her.  At 
length  he  has  grown  tired  of  sensual  love  and 
pleasure,  and  notwithstanding  Venus'  allure- 
ments he  leaves  her,  vowing  never  to  return  to 
the  goddess,  but  to  expiate  his  sins  by  a  holy 
life.  He  returns  to  the  charming  vale  behind 
the  Wartburg,  he  hears  again  the  singing  of  the 
birds,  the  shepherds  playing  on  the  flute,  the 
pious  songs  of  the  pilgrims  on  their  way  to 
Rome.  Full  of  repentance  he  kneels  down  and 
prays,  when  suddenly  the  Landgrave  appears 
with  some  minstrels,  among  them  Wolfram  von 
Eschinbach,  Tannhauser's  best  friend.  They 
greet  their  long-lost  companion,  who,  however, 
cannot  tell  where  he  has  been  all  the  time,  and 
as  Wolfram  reminds  him  of  Elizabeth,  Tann- 
hauser returns  with  the  party  to  the  Wartburg. 
It  is  just  the  anniversary  of  the  Tournament 
of  Minstrels,  and  in  the  second  act  we  find 
Elizabeth  with  Tannhauser,  who  craves  her  par- 
don and  is  warmly  welcomed  by  her.  The  high 
prize  for  the  best  song  is  again  to  be  Elizabeth's 
hand,  and  Tannhauser  resolves  to  win  her  once 
more.  The  Landgrave  chooses  "  love  "  as  the 
subject  whose  nature  is  to  be  explained  by  the 
minstrels.  Everyone  is  called  by  name,  and 
Wolfram  von  Eschinbach  begins,  praising  love 
as  a  well,  deep  and  pure,  a  source  of  the  highest 
and  most  sacred  feeling.  Others  follow;  Wal- 
ther  von  der  Vogelweide  praises  the  virtue  of 

400 


The  Standard  Operaglass 

love,    every   minstrel    celebrates   spiritual   love 
alone. 

But  Tannhauser,  who  has  been  in  Venus'  fet- 
ters, sings  of  another  love,  warmer  and  more 
passionate,  but  sensual.  And  when  the  others 
remonstrate,  he  loudly  praises  Venus,  the  god- 
dess of  heathen  love.  All  stand  aghast;  they 
recognize  now  where  he  has  been  so  long.  He  is 
about  to  be  put  to  death,  wheu  Elizabeth  prays 
for  him.  She  loves  him  dearly  and  hopes  to 
save  his  soul  from  eternal  perdition.  Tann- 
hauser is  to  join  a  party  of  pilgrims  on  their  way 
to  Eome,  there  to  crave  for  the  Pope's  pardon. 

In  the  third  act  we  see  the  pilgrims  return 
from  their  journey.  Elizabeth  anxiously  ex- 
pects her  lover,  but  he  is  not  among  them. 
Fervently  she  prays  to  the  Holy  Virgin;  but  not 
that  a  faithful  lover  may  be  given  back  to  her 
— no,  rather  that  he  may  be  pardoned  and  his 
immortal  soul  saved.  Wolfram  is  beside  her, 
he  loves  the  maiden,  but  he  has  no  thought  for 
himself;  he  only  feels  for  her,  whose  life  he  sees 
ebbing  swiftly  away,  and  for  his  unhappy  friend. 

Presently,  when  Elizabeth  is  gone,  Tann- 
hauser comes  up  in  pilgrim's  garb.  He  has 
passed  a  hard  journey,  full  of  sacrifices  and 
castigation,  and  all  for  nought,  for  the  Pope 
has  rejected  him.  He  has  been  told  in  hard 
words  that  he  is  for  ever  damned,  and  will  as 
little  get  deliverance  from  his  grievous  sin  as 

410 


Tannhauser 

the  stick  in  his  hand  will  ever  bear  green  leaves 
afresh. 

Full  of  despair  Tannhauser  is  returning  to 
seek  Venus,  whose  siren  songs  already  fall  allur- 
ingly on  his  ear.  Wolfram  entreats  him  to  fly, 
and  when  Tannhauser  fails  to  listen,  he  utters 
Elizabeth's  name.  At  this  momeut  a  proces- 
sion descends  from  the  Wartburg,  chanting  a 
funeral  song  over  an  open  bier.  Elizabeth  lies 
on  it,  dead,  and  Tannhauser  sinks  on  his  knee 
beside  her,  crying:  "  Holy  Elizabeth,  pray  for 
me."  Then  Venus  disappears,  and  all  at  once 
the  withered  stick  begins  to  bud  and  blossom, 
and  Tannhauser,  pardoned,  expires  at  the  side 
of  his  beloved. 

"  Tannhauser  "  was  represented  in  the  Dres- 
den Theatre  in  June,  1890,  according  to  Wag- 
ner's changes  of  arrangement,  done  by  him  in 
Paris,  1861,  for  the  Grand  Opera,  by  order  of  Na- 
poleon III.  This  arrangement  the  composer  ac- 
knowledges as  the  only  correct  one.  These 
alterations  are  limited  to  the  first  scene  in  the 
mysterious  abode  of  Venus,  and  his  motives  for 
the  changes  become  clearly  apparent  when  it  is 
remembered  that  the  simple  form  of  "  Tann- 
hauser "  was  composed  in  the  years  1843  and 
'45  in  and  near  Dresden,  at  a  time  when  there 
were  neither  means  nor  taste  in  Germany  for 
such  high-flown  scenes  like  those  which  excited 
Wagner's  brain.     Afterwards  success  rendered 

411 


The  Standard  Operaglass 

Wagner  bolder  and  more  pretentious,  and  so 
he  endowed  the  person  of  Venus  with  more 
dramatic  power,  and  thereby  threw  a  vivid  light 
on  the  great  attraction  she  exercises  on  Tann- 
haueer.  The  decorations  are  by  far  richer  and 
a  ballet  of  sirens  and  fauns  has  been  added, 
a  concession  which  Wagner  had  to  make  to  the 
Parisian  taste.  Venus'  part,  now  sung  by  the 
first  prima  donnas,  has  considerably  gained  by 
the  alterations,  and  the  first  scene  is  far  more 
interesting  than  before,  but  it  is  to  be  regretted 
that  the  Tournament  of  Minstrels  has  been 
shortened  and  particularly  the  fine  song  of  Wal- 
ther  von  der  Vogelweide  omitted  by  Wagner. 
All  else  is  as  of  old,  as  indeed  Elizabeth's  part 
needed  nothing  to  add  to  her  purity  and  loveli- 
ness, which  stands  out  now  in  even  bolder  relief 
against  the  beautiful  but  sensual  part  of  Venus. 


GUGLIELMO  TELL 

Grand  Opera  in  three  acts  by  ROSSINI 

This  last  opera  of  Eossini's  is  his  most  perfect 
work  and  it  is  deeply  to  be  regretted  that  when 
it  appeared  he  left  the  dramatic  world,  to  live  in 
comfortable  retirement  for  thirty-nine  years. 
How  much  he  could  still  have  done  if  he  had 
chosen  !    In  "  Tell  "  his  genius  attains  its  full 

412 


Guglielmo  Tell 

depth.  Here  alone  we  find  the  highly  dramatic 
element  united  to  the  infinite  richness  of  melody 
which  we  have  learned  to  associate  with  his 
name  and  work. 

The  text  is  founded  on  the  well-known  story 
of  Tell,  who  delivered  his  Fatherland  from  one 
of  its  most  cruel  despots,  the  Austrian  governor 
Gessler. 

The  first  act  opens  with  a  charming  introduc- 
tory chorus  by  peasants,  who  are  celebrating  a 
nuptial  f£te. 

Tell  joins  in  their  pleasure,  though  he  cannot 
help  giving  utterance  to  the  pain  which  the 
Austrian  tyranny  causes  him.  Arnold  von 
Melchthal,  son  of  an  old  Swiss,  has  conceived 
an  unhappy  passion  for  Mathilda,  Princess  of 
Hapsburg,  whose  life  he  once  saved;  but  he  is 
Swiss  and  resolved  to  be  true  to  his  country. 
He  promises  Tell  to  join  in  his  efforts  to  liberate 
it.  Meanwhile  Leuthold,  a  Swiss  peasant,  comes 
up.  He  is  a  fugitive,  having  killed  an  Austrian 
soldier,  to  revenge  an  intended  abduction  of  his 
daughter.  His  only  safety  lies  in  crossing  the 
lake,  but  no  fisherman  dares  to  row  out  in  the 
face  of  the  coming  storm.  Tell  steps  forth  and, 
seizing  the  oars,  brings  Leuthold  safely  to  the 
opposite  shore.  When  Rudolf  von  Harras  ap- 
pears with  his  soldiers,  his  prey  has  escaped  and, 
nobody  being  willing  to  betray  the  deliverer,  old 
father  Melchthal  is  imprisoned.  ■ 

413 


The  Standard  Operaglass 

In  the  second  act  we  find  Princess  Mathilda 
returning  from  a  hunt.  She  meets  Arnold,  and 
they  betray  their  mutual  passion.  Arnold  does 
not  yet  know  his  father's  fate,  but  presently 
Tell  enters  with  Walter  Fiirst,  who  informs 
Arnold  that  his  father  has  fallen  a  victim  to  the 
Austrian  tyranny.  Arnold,  cruelly  roused  from 
his  love-dream,  awakes  to  duty,  and  the  three 
men  vow  bloody  vengeance.  This  is  the  famous 
oath  taken  on  the  Rutli.  The  deputies  of  the 
three  cantons  arrive,  one  after  the  other,  and 
Tell  makes  them  swear  solemnly  to  establish 
Switzerland's  independence.  Excited  by  Ar- 
nold's dreadful  account  of  his  father's  murder, 
they  all  unite  in  the  fierce  cry:  "To  arms  !  " 
which  is  to  be  their  signal  of  combat. 

In  the  third  act  Gessler  arrives  at  the  market- 
place of  Altdorf,  where  he  has  placed  his  hat  on 
a  pole,  to  be  greeted  instead  of  himself  by  the 
Swiss  who  pass  by. 

They  grumble  at  this  new  proof  of  arrogance, 
but  dare  not  disobey  the  order,  till  Tell,  passing 
by  with  his  son  Gemmy,  disregards  it.  Refus- 
ing to  salute  the  hat,  he  is  instantly  taken  and 
commanded  by  Gessler  to  shoot  an  apple  off  his 
little  boy's  head.  After  a  dreadful  inward 
struggle  Tell  submits.  Fervently  praying  to 
God,  and  embracing  his  fearless  son,  he  shoots 
with  steady  hand,  hitting  the  apple  right  in  the 
centre.     But  Gessler  has  seen  a  second  arrow, 

414 


The  Templar  and  the  Jewess 

which  Tell  has  hidden  in  his  breast,  and  he  asks 
its  purpose.  Tell  freely  confesses  that  he  would 
have  shot  the  tyrant  had  he  missed  his  aim. 
Tell  is  fettered,  Mathilda  vainly  appealing  for 
mercy.  But  Gessler's  time  has  come.  The 
Swiss  begin  to  revolt.  Mathilda  herself  begs  to 
be  admitted  into  their  alliance  of  free  citizens 
and  offers  her  hand  to  Arnold.  The  fortresses 
of  the  oppressors  fall.  Tell  enters  free  and  vic- 
torious, having  himself  killed  Gessler,  and  in 
a  chorus  at  once  majestic  and  grand  the  Swiss 
celebrate  the  day  of  tlieir  liberation. 


THE    TEMPLAE    AKD   THE   JEWESS 

Opera  in  three  acts  by  HENRY  MARSCHNER 
Text  by  W.  A.  WOHLBRUCK 

The  subject  of  this  opera  is  the  well-known 
romance  of  "  Ivanhoe,"  by  Sir  Walter  Scott. 
The  poet  understood  pretty  well  how  to  make  an 
effective  picture  with  his  somewhat  too  exten- 
sive and  imposing  material. 

Its  chief  defect  lies  in  the  conclusion,  which 
is  lacking  in  poetic  justice  and  cannot  be  con- 
sidered satisfactory,  for  the  heroine  Rebecca,  who 
loves  her  knightly  succorer,  Ivanhoe,  is  only 
pitied  by  him,  and  so  the  difficulty  of  the  situa- 
tion is  not  solved  to  our  liking.     Apart  from 

415 


The  Standard   Operaglass 

this  defect,  the  opera  is  most  interesting  and  we 
are  won  by  its  beautiful  music,  which  may  be 
called  essentially  chivalrous  and  therefore  par- 
ticularly adapted  to  the  romantic  text. 

In  the  opening  scene  we  are  introduced  to  the 
Knight  Templar,  Brian  de  Bois  Guilbert,  who 
has  fallen  in  love  with  the  beautiful  Jewess  Ee- 
becca,  and  has  succeeded  in  capturing  and  de- 
taining her  in  his  castle.  At  the  same  time  Sir 
Cedric  of  Eotherwood,  a  Saxon  knight  (father 
of  Ivanhoe,  whom  he  has  disinherited),  has  been 
taken  captive  with  his  ward,  the  Lady  Eowena, 
by  their  enemies,  the  Normans.  Eebecca  re- 
fuses to  hear  the  Templar's  protestations  of 
love,  and  threatens  to  precipitate  herself  from 
the  parapet  if  he  dares  to  touch  her.  Her  wild 
energy  conquers;  and  when  he  leaves  her,  Ivan- 
hoe, the  wounded  knight  to  whom  Eebecca  is 
assigned  as  nurse,  tells  her  that  friends  have 
come  to  deliver  them  all. 

The  outlaws,  commanded  by  Eichard  Cceur 
de  Lion,  under  the  guise  of  the  Black  Knight, 
assault  the  castle,  burn  it  and  deliver  the  cap- 
tives. Poor  Eebecca  alone  falls  into  the  hands 
of  the  Templar,  who  does  not  cease  to  press  his 
love  suit.  Brian's  deed  soon  becomes  known, 
and  his  brother  Templars,  believing  Brian  to  be 
innocent,  but  seduced  by  a  sorceress,  condemn 
Eebecca  to  the  stake.  She  makes  use  of  her 
right  to  ask  for  a  champion,  and  is  allowed  till 

416 


La  Traviata 

sunset  to  find  one.  Brian  himself  tries  all  he 
can  to  save  her,  but  she  rejects  his  aid,  for  she 
loves  Ivanhoe,  though  she  is  well  aware  that  this 
noble  knight  loves  his  beautiful  cousin  Kowena. 
The  day  has  nearly  passed,  the  funeral  pile 
awaits  its  victim,  and  no  champion  appears. 
The  trumpets  sound  for  the  last  time,  when 
Ivanhoe  presents  himself  in  the  lists  to  fight 
Brian,  whom  the  Templars  have  appointed  as 
his  adversary.  Ivanhoe  is  victorious;  Brian 
falls  lifeless,  even  before  the  enemy's  sword 
touches  him.  All  recognize  the  judgment  of 
God,  and  Rebecca  is  given  back  to  her  desolate 
father.  At  the  last  moment  King  Richard,  who 
has  long  been  absent  on  a  crusade  to  Jerusalem, 
appears  on  the  scene.  He  announces  that  hence- 
forth he  alone  will  govern  the  land  and  punish 
all  injustice.  Ivanhoe  and  Rowena  are  united 
by  consent  of  Sir  Cedric,  who  is  now.  wholly 
reconciled  to  his  valorous  son. 


LA  TKAYIATA  (OR  YIOLETTA) 

Opera  in  three  acts  by  VERDI 
Text  taken  from  the  French  by  PIAVE 

The  original  of  the  libretto  is  Dumas'  cele- 
brated novel  "  La  dame  aux  camelias." 

The  opera  is,  like  all  of  Verdi's  works,  full  of 
97  417 


The  Standard  Operaglass 

melody,  and  there  are  numberless  special  beau- 
ties in  it.  The  prelude  which  opens  the  opera, 
instead  of  an  overture,  is  in  particular  an  elegy 
of  a  noble  and  interesting  kind.  But  as  the 
text  is  frivolous  and  sensual,  of  course  the  music 
cannot  be  expected  to  be  wholly  free  from  these 
characteristics. 

The  scene  is  laid  in  and  near  Paris.  Alfred 
Germont  is  passionately  in  love  with  Violetta 
Valery,  one  of  the  most  frivolous  beauties  in 
Paris.  She  is  pleased  with  his  sincere  passion, 
anything  like  which  she  has  never  hitherto 
known,  and  openly  telling  him  who  she  is,  she 
warns  him  herself;  but  he  loves  her  all  the 
more,  and,  as  she  returns  his  passion,  she  aban- 
dons her  gay  life  and  follows  him  into  the  coun- 
try, where  they  live  very  happily  for  some 
months. 

Annina,  Violetta's  maid,  dropping  a  hint  to 
Alfred  that  her  mistress  is  about  to  sell  her 
house  and  carriage  in  town  in  order  to  avoid 
expenses,  he  departs  for  the  capital  to  prevent 
this. 

During  his  absence  Violetta  receives  a  visit 
from  Alfred's  father,  who  tries  to  show  her  that 
she  has  destroyed  not  only  his  family's  but  his 
son's  happiness  by  suffering  Alfred  to  unite 
himself  to  one  so  dishonored  as  herself.  He 
succeeds  in  convincing  her,  and,  broken-hearted, 
she  determines  to   sacrifice   herself  and  leave 

418 


La  Traviata 

Alfred  Becretly.  Ignoring  the  possible  reason  for 
this  inexplicable  action,  Alfred  is  full  of  wrath 
and  resolves  to  take  vengeance.  He  finds  Vio- 
letta  in  the  house  of  a  former  friend,  Flora  Ber- 
voix,  who  is  in  a  position  similar  to  that  of  Vio- 
letta.  The  latter,  having  no  other  resources 
and  feeling  herself  at  death's  door  (a  6tate  of 
health  suggested  in  the  first  act  by  an  attack  of 
suffocation),  has  returned  to  her  former  life. 

Alfred  insults  her  publicly.  The  result  is  a 
duel  between  her  present  adorer,  Baron  Dauphal, 
and  Alfred. 

From  this  time  on  Violetta  declines  rapidly, 
and  in  the  last  act,  which  takes  place  in  her 
sleeping  room,  we  find  her  dying.  Hearing 
that  Alfred  has  been  victorious  in  the  duel,  and 
receiving  a  letter  from  his  father,  who  is  now 
willing  to  pardon  and  to  accept  her  as  his  daugh- 
ter-in-law, she  revives  to  some  extent  and  Alfred, 
who  at  last  hears  of  her  sacrifice,  returns  to  her, 
but  only  to  afford  a  last  glimpse  of  happiness  to 
the  unfortunate  woman,  who  expires,  a  modern 
Magdalen,  full  of  repentance,  and  striving  ten- 
derly to  console  her  lover  and  his  now  equally 
desolate  father. 


419 


The  Standard  Operaglass 
TKISTAN  AND   ISOLDA 

Lyric  Drama  in  three  acts  by  RICHARD  WAGNER 

The  music  to  this  drama  is  deemed  by  con- 
noisseurs the  most  perfect  ever  written  by  Wag- 
ner, but  it  needs  a  fine  and  highly  cultivated 
understanding  of  music  to  take  in  all  its  beauty 
and  greatness.  There  is  little  action  in  it,  and 
very  often  the  orchestra  has  the  principal  part, 
so  that  the  voice  seems  little  more  than  an 
accompaniment;  it  has  musical  measures,  too, 
which  cannot  be  digested  by  an  uneducated 
hearer,  but,  nevertheless,  many  parts  of  it  will 
interest  everyone. 

Isolda's  love  song,  for  instance,  is  the  noblest 
hymn  ever  sung  in  praise  of  this  passion. 

The  first  act  represents  the  deck  of  a  ship, 
where  we  find  the  two  principal  persons,  Tristan 
and  Isolda  together.  Tristan,  a  Cornish  hero, 
has  gone  over  to  Ireland,  to  woo  the  Princess 
for  his  old  uncle,  King  Marke.  Isolda,  however, 
loves  Tristan,  and  has  loved  him  from  the  time 
when  he  was  cast  sick  and  dying  on  the  coast 
of  Ireland  and  was  rescued  and  nursed  by  her, 
though  he  was  her  enemy.  But  Tristan,  hav- 
ing sworn  faith  to  his  uncle,  never  looks  at  her, 
and  she,  full  of  wrath  that  he  wooes  her  for  an- 
other instead  of  for  himself,  attempts  to  poison 
herself  and  him  by  a  potion.     But  Brangana, 

420 


Tristan  and  Isolda 

her  faithful  attendant,  secretly  changes  the  poi- 
soned draught  for  a  love  potion,  so  that  they  are 
inevitably  joined  in  passionate  love.  Only  when 
the  ship  lands,  its  deck  already  covered  with 
knights  and  sailors,  who  come  to  greet  their 
King's  bride,  does  Brangiina  confess  her  fraud, 
and  Isolda,  hearing  that  she  is  to  live,  faints  iu 
her  attendant's  arms. 

In  the  second  act  Isolda  has  been  wedded  to 
Marke,  but  the  love  potion  has  worked  well, 
and  she  has  secret  interviews  at  night  with  Tris- 
tan, whose  sense  of  honor  is  deadened  by  the 
fatal  draught.  Brangana  keeps  watch  for  the 
lovers,  but  King  Marke's  jealous  friend  Melot 
betrays  them,  and  they  are  found  out  by  the 
good  old  King,  who  returns  earlier  than  he  had 
intended  from  a  hunt. 

Tristan  is  profoundly  touched  by  the  grief  of 
the  King,  whose  sadness  at  losing  faith  in  his 
most  noble  warrior  is  greater  than  his  wrath 
against  the  betrayer  of  honor.  Tristan,  unable 
to  defend  himself,  turns  to  Isolda,  asking  her  to 
follow  him  into  the  desert,  but  Melot  opposes 
him,  and  they  fight,  Tristan  falling  back  deadly 
wounded  into  his  faithful  servant  Kurvenal's 
arms. 

The  third  act  represents  Tristan's  home  in 
Brittany,  whither  Kurvenal  has  carried  his 
wounded  master  in  order  to  nurse  him.  Isolda, 
bo  skilled  in  the  art  of  healing  wounds,  has  been 

421 


The  Standard  Operaglass 

sent  for,  but  they  look  in  vain  for  the  ship 
which  is  to  bring  her. 

When  at  last  it  comes  into  sight,  Tristan, 
who  awakes  from  a  long  swoon,  sends  Kurvenal 
away,  to  receive  his  mistress,  and  as  they  both 
delay  their  coming  his  impatient  longing  gets 
the  better  of  him.  Forgetting  his  wound,  he 
rises  from  his  couch,  tearing  away  the  bandages, 
and  so  Isolda  is  only  just  in  time  to  catch  him 
in  her  arms,  where  he  expires  with  her  name  on 
his  lips.  "While  she  bewails  her  loss,  another 
ship  is  announced  by  the  shepherd's  horn.  King 
Marke  arrives,  prepared  to  pardon  all  and  to 
unite  the  lovers.  Kurvenal,  seeing  Melot  ad- 
vance, mistakes  them  for  foes,  and  running  his 
sword  through  Melot's  breast,  sinks,  himself 
deadly  wounded,  at  his  master's  feet.  King 
Marke,  to  whom  Brangana  has  confessed  her 
part  in  the  whole  matter,  vainly  laments  his 
friend  Tristan,  while  Isolda,  waking  from  her 
swoon  and  seeing  her  lover  dead,  pours  forth 
rapturous  words  of  greeting,  and,  broken- 
hearted, sinks  down  dead  at  his  side. 


422 


Der  Trompeter  von  Sakkingen 

DER  TROMPETER  VON  SlKKINGEN 
(THE  TRUMPETER  OF  SAEKKINGEN) 

Opera  in  three  acts,  with  a  prelude,  by  VICTOR 
NESSLER 

Text  by  RUDOLF  BUNGE  after  SCHEFFEL'S  poem 

Seldom  in  our  days  is  an  opera  such  a  com- 
plete success  in  all  German  theatres  as  this  com- 
position of  Nessler's  has  proved  to  be.  To  tell 
the  truth,  it  owes  its  popularity  in  great  degree 
to  the  libretto,  which  has  taken  so  many  fine 
songs  and  ideas  from  its  universally  known  and 
adored  original.  Nessler's  "Trompeter"  is, 
however,  in  every  way  inferior  to  Scheffel's  cele- 
brated poem. 

Nevertheless,  the  music,  though  not  very  pro- 
found, is  pleasing,  and  there  are  several  airs  in 
it  which  have  already  become  popular. 

The  prelude  opens  at  Heidelberg,  where  a 
chorus  of  students  make  a  great  noise  after  one 
of  their  drinking  bouts.  They  presently  sere- 
nade the  Princess-Electress,  and  a  law-student, 
named  Werner,  a  foundling  and  the  adopted 
son  of  a  professor,  distinguishes  himself  by  a 
solo  on  the  trumpet.  He  is  heard  by  the  trum- 
peter of  the  Imperial  recruiting  officers,  who 
tries  to  win  him,   but  without  success,  when 

423 


The  Standard  Operaglass 

suddenly  the  Rector  Magnificus  appears  to  as- 
sist the  major-domo,  and  announces  to  the  as- 
tounded disturbers  of  peace  that  they  are  dis- 
missed from  the  university. 

Werner,  taking  a  sudden  resolution,  accepts 
the  press-money  from  Konradin  the  trumpeter, 
marches  away  with  the  soldiers,  and  the  prelude 
is  closed. 

The  first  act  represents  a  scene  at  Sakkingen 
on  the  Rhine.  There  is  a  festival  iu  honor  of 
St.  Fridolin,  at  which  young  Baroness  Maria 
assists.  She  is  insulted  by  the  peasants  and 
Werner  protects  her  from  them.  She  is  much 
pleased  by  the  noble  bearing  of  the  trumpeter, 
and  so  is  her  aunt,  the  Countess  of  Wildenstein, 
who  detects  a  great  resemblance  between  him 
and  her  son,  who  was  stolen  by  gipsies  in  his 
childhood.  The  second  scene  takes  us  into  the 
Baron's  room,  where  w*e  find  the  gouty  old 
gentleman  in  rather  a  bad  humor.  He  is  re- 
stored to  good  temper  by  a  letter  from  his  friend 
the  Count  of  Wildenstein,  who  lives  separated 
from  his  first  wife,  the  above-mentioned  Count- 
ess, and  who  proposes  his  son,  born  in  second 
wedlock,  as  Maria's  husband. 

The  Baron  receives  Maria  kindly,  when  she 
relates  her  adventure  and  begs  him  to  engage 
Werner  as  trumpeter  in  the  castle.  At  this 
moment  the  latter  is  heard  blowing  his  instru- 
ment, and  the  Baron,  who  has  a  great  predilec- 

424 


Der  Trompeter  von  ISakkingen 

tioa  for  it,  bids  "Werner  present  himself,  and  at 
once  engages  him. 

In  the  second  act  Werner  gives  lessons  on  the 
trumpet  to  the  lovely  Maria;  of  course  the 
young  people  fall  in  love  with  each  other,  but 
the  Countess  watches  them,  until  friend  Kon- 
radin  for  once  succeeds  in  drawing  her  aside, 
when  there  follows  a  glowing  declaration  of  love 
on  both  sides.  Unhappily  it  is  interrupted  by 
the  Countess,  who  announces  her  discovery  to 
the  Baron.  Meanwhile  the  destined  bridegroom 
has  arrived  with  his  father.  Damian,  that  is 
the  young  man's  name,  is  a  simpleton,  and 
Maria  declares  at  once  that  she  never  will  be 
his.  But  in  the  presence  of  the  whole  company, 
assembled  for  a  festival,  the  Baron  proclaims 
Maria  Count  Damian's  bride;  to  the  over-bold 
Werner  he  forbids  the  castle. 

The  last  act  opens  with  a  siege  of  the  castle 
by  the  rebellious  peasants.  Damian  shows  him- 
self a  coward.  In  the  last  extremity  they  are 
relieved  by  Werner,  who  drives  the  peasants 
back  with  his  soldiers.  He  is  wounded  in  the 
fray,  and  while  the  wound  is  being  dressed  a 
mole  detected  on  his  arm  proclaims  him  the 
stolen  child  of  Countess  Wildeustein.  All  now 
ends  in  joy  and  happiness;  the  Baron  is  willing 
enough  to  give  his  daughter  to  the  brave  young 
nobleman  and  very  glad  to  be  rid  of  the  cow- 
ardly Damian. 

425 


The  Standard  Operaglass 
IL  TBOVATOEE 

Opera  in  four  acts  by  GIUSEPPE  VERDI 

Text  by  Salvatore  Commerano 

Though  Verdi  is  far  beneath  his  celebrated 
predecessors  Eossini  and  Bellini,  he  is  highly 
appreciated  in  his  own  country,  and  the  "  Trova- 
tore  "  counts  many  admirers  not  only  in  Italy 
but  also  abroad.  This  is  easily  accounted  for 
by  the  number  of  simple  and  catching  melodies 
contained  in  his  operas,  and  which  have  be- 
come so  quickly  popular  that  we  hear  them  on 
every  street-organ.  Manrico's  romance,  for  ex- 
ample, is  a  good  specimen  of  the  work  for  which 
he  is  admired. 

The  text  of  "71  Trovatore  "  is  very  gloomy 
and  distressing. 

Two  men  of  entirely  different  station  and 
character  woo  Leonore,  Countess  of  Sergaste. 
The  one  is  Count  Luna,  the  other  a  minstrel, 
named  Manrico,  who  is  believed  to  be  the  son 
of  Azucena,  a  gipsy. 

Azucena  has,  in  accordance  with  gipsy  law, 
vowed  bloody  revenge  on  Count  Luna,  because 
his  father,  believing  her  mother  to  be  a  sorceress 
and  to  have  bewitched  one  of  his  children,  had 
the  old  woman  burned.  To  punish  the  father 
for   this  cruelty  Azucena  took  away  his  other 

426 


II  Trovatore 

child,  which  was  vainly  sought  for.  This  story 
is  told  in  the  first  scene,  where  we  find  the 
Count's  servants  waiting  for  him,  while  he 
stands  sighing  beneath  his  sweetheart's  win- 
dow. But  Leonore's  heart  is  already  capti- 
vated by  Manrico's  sweet  songs  and  his  valor  in 
tournament.  She  suddenly  hears  his  voice,  and 
in  the  darkness  mistakes  the  Count  for  her 
lover,  who,  however,  comes  up  just  in  time  to 
claim  her.  The  Count  is  full  of  rage,  and 
there  follows  a  duel  in  which  Manrico  is 
wounded,  but  though  it  is  in  his  power  to  kill 
his  enemy,  he  spares  his  life,  without,  however, 
being  able  to  account  for  the  impulse. 

In  the  second  act,  Azucena,  nursing  Man- 
rico, tells  him  of  her  mother's  dreadful  fate  and 
her  last  cry  for  revenge,  and  confesses  to  having 
stolen  the  old  Count's  son  with  the  intention 
of  burning  him.  But  in  her  despair  and  confu- 
sion, she  says,  she  threw  her  own  child  into  the 
flames,  and  the  Count's  son  lived.  Manrico  is 
terrified,  but  Azucena  retracts  her  words  and 
regains  his  confidence,  so  that  he  believes  her 
tale  to  have  been  but  an  outburst  of  remorse 
and  folly. 

Meanwhile  he  hears  that  Leonore,  to  whom 
he  was  reported  as  dead,  is  about  to  take  the  veil, 
and  he  rushes  away  to  save  her.  Count  Luna 
arrives  before  the  convent  with  the  same  pur- 
pose.    But  just  as  he  seizes  his  prey,  Manrico 

427 


The  Standard  Operaglass 

comes  up,  and  liberates  with  her  the  aid  of  his 
companions,  while  the  Count  curses  them. 

Leonore  becomes  Manrico's  wife,  but  her  hap- 
piness is  short-lived. 

In  the  third  act  the  Count's  soldiers  succeed 
in  capturing  Azucena,  in  whom  they  recognize 
the  -burned  gipsy's  daughter.  She  denies  all 
knowledge  of  the  Count's  lost  brother,  and  as 
the  Count  hears  that  his  successful  rival  is  her 
son,  she  is  sentenced  to  be  burned.  Kuiz,  Man- 
rico's friend,  brings  the  news  to  him.  Manrico 
tries  to  rescue  her,  but  is  seized  too,  and  con- 
demned to  die  by  the  axe. 

In  the  fourth  act  Leonore  offers  herself  to  the 
Count  as  the  price  of  freedom  for  the  captives, 
but,  determined  to  be  true  to  her  lover,  she 
takes  poison.  She  hastens  to  him,  announcing 
his  deliverance.  Too  late  he  sees  how  dearly 
she  has  paid  for  it,  when,  after  sweet  assurance 
of  love  and  fidelity,  she  sinks  dead  at  his  feet. 

The  Count,  coming  up  and  seeing  himself 
deceived,  orders  Manrico  to  be  put  to  death  in- 
stantly. 

He  is  led  away,  and  only  after  the  execu- 
tion does  Azucena  inform  the  Count  that  his 
murdered  rival  was  Luna's  own  long-sought 
brother. 


428 


Undine 
UKDIKE 

Romantic  Opera  in  four  acts  by  ALBERT  LORTZING 
Text  after  FOUQITE'S  tale 

With  this  opera  Lortzing  for  the  first  time 
tried  his  genius  in  another  field.  Until  then 
he  had  only  composed  comic  operas,  which  had 
met  with  a  very  fair  measure  of  success,  but  in 
this  opera  he  left  the  comic  for  the  romantic, 
and  was  peculiarly  happy  both  in  his  ideas  and 
choice  of  subject,  which,  as  it  happened,  had 
previously  had  the  honor  of  being  taken  up  by 
Weber.  The  first  representation  of  "  Undine  " 
at  Hamburg  in  the  year  1845  was  one  of  the  few 
luminous  moments  in  Lortzing's  dark  life. 

His  melodies  are  wonderfully  captivating  and 
lovely,  and  the  whole  charm  of  German  romance 
lies  in  them. 

The  contents  of  the  libretto  are : 

The  gallant  knight,  Hugo  von  Eingstetten, 
has  been  ordered  by  the  Duke's  daughter,  Ber- 
thalda,  to  go  in  search  of  adventures,  accom- 
panied by  his  attendant  Veit.  Being  detained 
for  three  months  in  a  little  village  cut  off  from 
communication  with  the  outer  world  by  an  in- 
undation, he  sees  Undine,  the  adopted  daughter 
of  an  old  fisherman,  named  Tobias,  and  falling 
in  love  with  her  he  asks  for  her  hand.     In  the 

439 


The  Standard  Operaglass 

first  act  we  see  the  priest  uniting  the  young 
couple.  The  knight  recognizes  in  the  old  man 
a  traveller  whom  he  once  saved  from  robbers, 
and  is  glad  to  see  him.  Undine  behaves  most 
childishly,  and  finally  says  that  she  has  no  soul. 
She  is  herself  grieved,  and  the  others  do  not  be- 
lieve her.  Hugo  now  tells  them  of  the  proud 
and  beautiful  Berthalda,  whose  scarf  he  re- 
ceived in  a  tournament,  and  who  sent  him  away 
on  this  adventure.  He  then  returns  to  the 
capital  with  his  young  wife,  in  order  to  present 
her  at  the  ducal  court.  Meanwhile  Veit  has 
met  Kiihleborn,  the  mighty  King  of  the  water- 
fairies,  and  is  asked  by  him  whether  his  master 
has  quite  forgotten  Berthalda.  The  valet  gives 
as  his  opinion  that  the  poor  fisher-maiden  is  de- 
ceived, and  will  soon  be  abandoned  by  her  hus- 
band. This  excites  Kiihleborn 's  wrath,  for 
Undine  is  his  daughter,  and  he  forthwith  re- 
solves to  protect  her. 

In  the  second  act  Undine  confesses  to  her 
husband  that  she  is  a  water-fairy,  one  of  those 
whom  men  call  "Undinas."  They  have  no 
soul,  but  if  they  are  loved  faithfully  by  man 
they  are  able  to  gain  a  soul,  and  through  it  im- 
mortality. Though  he  shudders  inwardly,  Un- 
dine's purity  and  loveliness  conquer  Hugo's 
fright,  and  he  once  more  swears  to  be  eternally 
true  to  her. 

The  proud  Berthalda,  who  loves  Hugo,  has 

430 


Undine 

heard  with  feelings  of  mingled  anger  and  de- 
spair of  the  knight's  marriage.  She  determines 
to  honor  the  King  of  Naples  with  her  hand; 
but  before  her  wedding  takes  place  a  sealed 
document  has  to  be  opened,  which  says  that 
Berthalda,  instead  of  being  a  Duke's  daughter, 
is  a  poor  foundling.  Kuhleborn,  who  is  pres- 
ent, declares  that  she  is  the  real  child  of  Un- 
dine's foster  parents.  Berthalda  is  now  obliged 
to  leave  the  palace.  She  loathes  her  fate  and 
curses  her  low-born  parents.  Then  Kuhleborn 
derides  her,  and  the  attendants  ai'e  about  to 
seize  him  in  order  to  turn  him  out  of  doors, 
when  the  statue  of  the  water-god  breaks  into 
fragments,  while  Kuhleborn  stands  in  its  place, 
the  waters  pouring  down  upon  him.  All  take 
flight,  but  Undine  raises  the  prostrate  Ber- 
thalda, promising  her  protection  iu  her  hus- 
band's castle. 

In  the  third  act  Berthalda  succeeds  in  again 
drawing  Hugo  into  her  toils.  Though  warned 
by  the  water-fairies  not  to  perjure  himself,  he 
neglects  their  advice,  and  Undine  finds  him  in 
the  arms  of  her  rival.  He  repels  his  wife,  and 
Kuhleborn  takes  her  back  into  his  watery  king- 
dom. But  Undine  has  lost  bar  peace  of  mind 
forever;  she  cannot  forget  her  husband. 

In  the  fourth  act  Hugo  has  given  orders  to 
close  the  well  with  stones,  to  prevent  all  possi- 
ble communication  with  the  water-fairies.     Un- 

43i 


The  Standard   Operaglass 

dine's  pale  face  pursues  him  everywhere,  he 
continually  fancies  he  hears  her  soft  voice  and 
touching  entreaties,  and  to  stifle  his  remorse  he 
appoints  the  day  of  his  wedding  with  Berthalda. 

His  attendant,  Veit,  however,  unahle  to  for- 
get his  sweet  mistress,  removes  the  stones  which 
cover  the  well.  Undine  rises  from  it  and  appears 
at  midnight  at  the  wedding.  Hugo,  forgetting 
Berthalda,  and  drawn  toward  his  lovely  wife 
against  his  will,  falls  into  her  arms  and  dies  at 
her  feet.  The  castle  comes  crashing  down, 
floods  penetrate  everywhere  and  carry  Hugo  and 
Undine  into  Kuhleborn's  crystal  palace. 

Undine  obtains  pardon  for  Hugo,  and  his  only 
punishment  is  that  he  must  forever  stay  with 
his  wife  in  her  fairy  domains. 


UEYASI 

Opera  in  three  acts  by  WILHELM  KTENZL 
Text  after  the  Indian  legend  of  KALIDASA 

This  opera  is  so  brilliantly  supplemented  by 
decorations  and  poetic  enchantment  of  every 
kind  that  it  would  be  worth  while  to  see  those 
triumphs  of  modern  machinery  alone.  But  not 
only  on  account  of  external  effect  is  Urvasi  ad- 
mired— the  music  is  in  itself  well  worth  hearing, 
though  it  contains  many  reminiscences  of  other 

432 


Urvasi 

well-known  composers.  It  is  pleasing  and  grace- 
ful,  and  the  orchestration  is  so  brilliant  that  it 
may  even  deceive  the  hearer  as  to  the  poverty 
of  invention. 

The  subject,  arranged  by  Kienzl  himself,  is 
highly  romantic. 

The  Apsares  (virgins  of  heaven),  who  are 
sometimes  allowed  to  visit  earth  and  its  inhabi- 
tants, have  just  made  use  of  this  permission. 

Urvasi,  their  Princess,  isolates  herself  from 
their  dances,  and  is,  with  two  sisters,  caught  by 
the  wild  Prince  of  the  Asures,  their  enemy. 
They  cry  for  help,  when  the  King  of  Persia, 
hunting  in  those  grounds,  appears  with  his  suite 
and  saves  Urvasi. 

They  fall  in  love  with  each  other,  though 
Brahma  has  prophesied  to  the  King  that  he  will 
die  poor  and  unknown  if  he  does  not  wed  the 
last  Princess  of  the  Persian  kingdom,  Ausinari, 
to  whom  he  is  already  betrothed. 

Urvasi  tells  him  that,  not  being  a  daughter 
of  earth,  she  can  only  be  allowed  to  see  him 
from  time  to  time.  The  King  swears  eternal 
fealty  to  her,  and  she  in  return  promises  to  be 
his  in  heaven.  But  should  he  prove  false,  noth- 
ing can  save  them  both  from  fearful  punish- 
ment. 

Then  she  bids  him  farewell,  promising  to 
send  a  rose  every  time  she  is  allowed  to  descend 
from  heaven. 

28  433 


The  Standard  Operaglass 

In  the  second  act  Ausinari,  walking  in  the 
moonshine,  mourns  for  the  King's  love,  which 
she  has  lost.  Mandava,  priest  of  the  moon, 
consoles  her,  designing  the  present  night,  that 
of  the  full  moon,  as  the  one  in  which  the  King's 
heart  shall  again  turn  to  her. 

After  his  departure  Ausinari  first  prays  to  the 
good  and  mild  god  of  the  moon,  but  afterward 
invokes  Ahriman,  the  Spirit  of  Night,  lest  the 
moon-god  should  prove  too  weak.  When  she  has 
left  the  park,  the  King  walks  in  dreamily.  His 
whole  soul  is  filled  by  Urvasi;  he  fervently  calls 
for  her,  and  a  rose,  her  love  token,  falls  at  his 
feet.  But  he  waits  in  vain  for  her,  she  does  not 
come,  and  as  the  priests  of  the  moon  appear  to 
celebrate  the  festival  of  their  god  he  retires  dis- 
appointed into  a  bower. 

Now  follows  a  sort  of  ballet.  All  the  maidens 
and  their  lovers  who  desire  to  be  united  sacri- 
fice to  the  god ;  the  young  men  throw  a  bloom- 
ing rose  into  the  flame,  the  girls  a  palm-branch. 

Ausinari  appears,  and  is  greeted  with  joyous 
acclamations,  while  Manava  enters  the  bower  to 
conduct  the  King  to  the  sacrifice.  He  vainly 
strives  against  Ausinari  and  the  priests,  who 
urgently  demand  the  sacrifice  of  the  red  rose, 
which  he  still  carries  in  his  hand.  After  a  long 
resistance  he  abandons  himself  to  despair  and 
throws  the  rose  into  the  blaze,  thinking  himself 
forsaken  by  Urvasi.     But  hardly  has  he  done 


Urvasi 

so  than  Urvasi's  form  rises  from  the  flame, 
solemnly  reminding  him  of  the  oath  which  he 
has  broken.  She  has  only  been  testing  his  firm- 
ness, and  finding  him  weak  she  is  obliged  to 
disappear  forever  as  Urvasi  and  to  live  in  an- 
other form,  while  only  deepest  contrition  and 
ardent  love  can  ever  help  him  to  find  her  again. 
Urvasi  vanishes  and  the  King  leaves  Ansinari, 
his  tbrone,  and  his  land,  to  seek  as  a  poor  pil- 
grim for  his  beloved. 

In  the  last  act  we  find  Urvasi's  friend,  the 
Apsare  Tschitralekha,  watering  a  rose-bush, 
into  which  her  Princess  has  been  transformed. 

The  King  enters  in  the  garb  of  an  Indian 
penitent.  His  strength  is  nearly  exhausted,  he 
has  sought  his  bride  all  over  the  earth,  and  he 
now  demands  her  from  the  spirit  of  the  rock  and 
from  that  of  the  cataract,  but  all  tell  him  that 
she  is  only  to  be  found  where  glowing  life  grows. 
Tired  to  death,  he  draws  his  sword  to  end  his 
life,  when  Tschitralekha,  laying  her  hand  on  his 
arm,  points  out  the  rose-bush.  The  King  kisses 
it,  and  falling  on  his  knee  beside  the  virgin, 
who  joins  in  his  devotions,  fervently  prays  to 
Indra  that  at  last  his  love  may  be  given  to  him 
again.  Slowly  Urvasi  rises  from  the  rose-bush. 
A  long  and  exalted  love  duet  follows,  then  the 
Indian  heaven  opens  and  the  King  dies  at  Ur- 
vasi's feet,  struck  by  a  ray  from  the  celestial 
sun. 

435 


The  Standard   Operaglass 
THE   VAMPIKE 

Romantic  Opera  in  two  acts  by 
HEINRICH  MARSCHNER 

Text  by  W.  A.  WOHLBRUCK 

This  opera  had  long  fallen  into  oblivion, 
when  Hofrath  Schuch  of  Dresden  was  struck 
with  the  happy  idea  of  resuscitating  it.  And, 
indeed,  its  music  well  deserves  to  be  heard.  It 
is  both  beautiful  and  characteristic,  and  par- 
ticularly the  drinking  scenes  in  the  second  act; 
and  the  soft  and.  graceful  airs  sung  by  Emma 
and  Edgar  Aubry  belong  to  the  best  of  Marsch- 
ner's  work.  He  is,  it  is  true,  not  quite  original, 
and  often  reminds  one  of  Weber,  but  that  can- 
not well  be  called  a  fault,  almost  every  genius 
having  greater  prototype.  This  opera  was  long 
neglected  on  account  of  its  libretto,  the  subject 
of  which  is  not  only  unusual  but  far  too  roman- 
tic and  ghastly  for  modern  taste.  It  is  taken 
from  an  old  tale  of  the  same  name,  and  written 
by  Marschner's  own  brother-in-law.  The  scene 
is  laid  in  Scotland  in  the  seventeenth  century, 
and  illustrates  the  old  Scottish  legend  of  the 
Vampire,  a  phantom-monster  which  can  only 
exist  by  sucking  the  heart-blood  of  sleeping 
mortals. 

Lord  Ruthven  is  such  a  Vampire.     He  vic- 

436 


The  Vampire 

timizes  young  maidens  in  particular.  His  soul 
is  sold  to  Satan,  but  the  demons  have  granted 
him  a  respite  of  a  year,  on  condition  of  his 
bringing  them  three  brides,  young  and  pure. 
His  first  victim  is  Janthe,  daughter  of  Sir  John 
Berkley.  She  loves  the  monster,  and  together 
they  disappear  into  a  cavern.  Her  father  as- 
sembles followers  and  goes  in  search  of  her. 
They  hear  dreadful  wailings,  followed  by  mock- 
ing laughter,  proceeding  from  the  ill-fated 
Vampire,  and  entering,  they  find  Janthe  life- 
less. The  despairing  father  stabs  Ruthven,  who, 
wounded  to  death,  knows  that  he  cannot  sur- 
vive but  by  drawing  life  from  the  rays  of  the 
moon,  which  shines  on  the  mountains.  Unable 
to  move,  he  is  saved  by  Edgar  Aubry,  a  relative 
of  the  Laird  of  Davenant,  who  accidentally 
comes  to  the  spot. 

Lord  Ruthven,  after  having  received  a  prom- 
ise of  secrecy  from  Aubry,  tells  him  who  he  is, 
and  implores  him  to  carry  him  to  the  hills  as 
the  last  favor  to  a  dying  man. 

Aubry  complies  with  the  Vampire's  request, 
and  then  hastily  flies  from  the  spot.  Ruthven 
revives  and  follows  him  in  order  to  win  the  love 
of  Malwina,  daughter  of  the  Laird  of  Davenant 
and  Aubry's  betrothed. 

His  respite  now  waxing  short,  he  tries  at  the 
save  time  to  gain  the  affections  of  John  Perth's, 
the  steward's,  daughter  Emma. 

437 


The  Standard  Operaglass 

Malwina  meanwhile  greets  her  beloved  Au- 
bry, who  has  returned  after  a  long  absence. 
Both  are  full  of  joy,  when  Malwina's  father 
enters  to  announce  to  his  daughter  her  future 
husband,  whom  he  has  chosen  in  the  person  of 
the  Earl  of  Marsden.  Great  is  Malwina's  sor- 
row, and  she  now  for  the  first  time  dares  to  tell 
her  father  that  her  heart  has  already  spoken, 
and  to  present  Aubry  to  him.  The  Laird's 
pride,  however,  does  not  allow  him  to  retract 
his  word,  and  when  the  Earl  of  Marsden  ar- 
rives he  presents  him  to  his  daughter.  In  the 
supposed  Earl,  Aubry  at  once  recognizes  Lord 
Ruthven,  but  the  villain  stoutly  denies  his  iden- 
tity, giving  Lord  Ruthven  out  as  a  brother,  who 
has  been  travelling  for  a  long  time.  Aubry, 
however,  recognizes  the  Vampire  by  a  scar  on 
his  hand,  but  he  is  bound  to  secrecy  by  his 
oath,  and  so  Ruthven  triumphs,  having  the 
Laird  of  Davenant's  promise  that  he  will  be 
betrothed  before  midnight  to  Malwina,  as  he 
declares  that  he  is  bound  to  depart  for  Madrid 
the  following  morning  as  Ambassador. 

In  the  second  act  all  are  drinking  and  frolick- 
ing on  the  green,  where  the  bridal  is  to  take 
place. 

Emma  awaits  her  lover,  George  Dibdin,  who 
is  in  Davenant's  service.  While  she  sings  the 
ghastly  romance  of  the  Vampire,  Lord  Ruthven 
approaches,  and  by  his  sweet  flattery  and  prom- 

438 


The  Vampire 

ise  to  help  the  lovers  he  easily  causes  the  simple 
maiden  to  grant  him  a  kiss  in  token  of  her 
gratitude.  In  giving  this  kiss  she  is  forfeited 
to  the  Evil  One.  George,  who  has  seen  all,  is 
very  jealous,  though  Emma  tells  him  that  the 
future  son-in-law  of  the  Laird  of  Davenant  will 
make  him  his  steward. 

Meanwhile  Aubry  vainly  tries  to  make  Ruth- 
ven  renounce  Malwina.  Ruthven  threatens  that 
Aubry  himself  will  be  condemned  to  be  a  Vam- 
pire if  he  breaks  his  oath,  and  depicts  in  glow- 
ing colors  the  torments  of  a  spirit  so  cursed. 
While  Aubry  hesitates  as  to  what  he  shall  do, 
Ruthven  once  more  approaches  Emma  aud  suc- 
ceeds in  winning  her  consent  to  follow  him  to 
his  den,  where  he  murders  her. 

In  the  last  scene  Malwina,  unable  any  longer 
to  resist  her  father's  will,  has  consented  to  the 
hateful  marriage.  Ruthven  has  kept  away 
rather  long  and  comes  very  late  to  his  wed- 
ding. Aubry  implores  them  to  wait  for  the 
coming  day,  but  in  vain.  Then  he  forgets  his 
own  danger  and  only  sees  that  of  his  beloved, 
and  when  Ruthven  is  leading  the  bride  to  the 
altar  he  loudly  proclaims  Ruthven  to  be  a 
Vampire.  At  this  moment  a  thunder  peal  is 
heard,  and  a  flash  of  lightning  destroys  Ruth- 
ven, whose  time  of  respite  has  ended  at  mid- 
night. The  old  Laird,  Avitnessing  Heaven's 
punishment,  repents  his  error  and  gladly  gives 

439 


The  Standard  Operagiass 

Malwina  to  her  lover,  while  all  praise  the  Al- 
mighty, who  has  turned  evil  into  good. 


THE  WALKYEIE 

'      First  day  of  the  Nibelungen  Ring  by  WAGNER 

In  the  first  scene  we  are  introduced  into  the 
dwelling  of  a  mighty  warrior,  Hunding,  in 
whose  house  Siegmund,  a  son  of  Wotan  and  of 
a  mortal  woman,  has  sought  refuge,  without 
knowing  that  it  is  the  abode  of  an  enemy. 
Sieglinda,  Hunding's  wife,  who,  standing  alone 
and  abandoned  in  the  world,  was  forced  into 
this  union  against  her  will,  attracts  the  guest's 
interest  and  wins  his  love. 

When  Hunding  comes  home  from  the  fight 
he  learns  to  his  disgust  that  his  guest  is  the 
same  warrior  who  killed  his  kinsmen,  and  whom 
they  vainly  pursued.  The  laws  of  hospitality 
forbid  him  to  attack  Siegmund  under  his  own 
roof,  but  he  warns  him  that  he  shall  only  await 
the  morrow  to  fight  him. 

Sieglinda,  having  fallen  in  love  with  her 
guest,  mixes  a  powder  with  her  husband's 
potion,  which  sends  him  into  profound  sleep. 
Then  she  returns  to  Siegmund,  to  whom  she 
shows  the  hilt  of  the  sword,  thrust  deep  into 
the  mighty  ash-tree's  stem,  which  fills  the  mid- 
440 


The  Walkyrie 

die  6pace  of  the  hut.  It  has  been  put  there  by  an 
unknown  one-eyed  wanderer  (Wotan,  who  once 
sacrificed  one  of  his  eyes  to  Erda,  wishing  to  gain 
more  knowledge  for  the  sake  of  mankind).  No 
hero  has  succeeded  until  now  in  loosening  the 
wondrous  steel.  Siegmund  reveals  to  Sieglinda 
that  he  is  a  son  of  the  "  Waelsung,"  and  they 
recognize  that  they  are  twin  brother  and  sister. 
Then  Sieglinda  knows  that  the  sword  is  destined 
for  Siegmund  by  his  father,  and  Siegmund, 
with  one  mighty  effort,  draws  it  out  of  the  ash- 
tree.  Sieglinda  elopes  with  him  and  the  early 
morning  finds  them  in  a  rocky  pass,  evading 
Hunding's  wrath. 

In  the  second  scene  we  see  Wotan  giving 
directions  to  the  Walkyrie  Briinnhilde,  who  is 
to  shield  Siegmund  in  his  battle  with  Hunding. 
Briinnhilde  is  Wotan's  and  Erda's  child  and 
her  father's  favorite.  But  Fricka  comes  up, 
remonstrating  violently  against  this  breach  of 
all  moral  and  matrimonial  laws;  she  is  the  pro- 
tector of  marriages  and  most  jealous  of  her  some- 
what fickle  husband,  and  she  forces  Wotan  to 
withdraw  his  protection  from  Siegmund,  and  to 
remove  the  power  of  Siegmund's  sword. 

Wotan  recalls  Briinnhilde,  changing  his  orders 
with  heavy  heart  and  sending  her  forth  to  tell 
Siegmund  his  doom.  She  obeys,  but  Siegmund 
scorns  all  her  fine  promises  of  Walhalla.  Though 
he  is  to  find  his  father  there  and  everything  be- 

441 


The  Standard   Operaglass 

sides  that  he  could  wish,  he  prefers  foregoing 
all  this  happiness  when  he  hears  that  Sieglinda, 
who  has  been  rendered  inanimate  by  grief  and 
terror,  cannot  follow  him,  but  must  go  down  to 
Hel  after  her  death,  where  the  shadows  lead  a 
sad  and  gloomy  existence.  He  wins  Briinnhilde 
by  his  love  and  noble  courage,  and  she  for  the 
first  time  resolves  to  disobey  Wotan's  orders 
given  so  unwillingly,  and  to  help  Siegmund 
against  his  foe. 

Now  ensues  the  combat  with  Hunding,  Briinn- 
hilde standing  on  Siegmund's  side.  But  Wotan 
interferes,  breaking  Siegmund's  sword;  he  falls, 
and  Wotan  kills  Hunding,  too,  by  one  wrathful 
glance. 

Then  he  turns  his  anger  against  the  Walkyrie 
who  dared  to  disobey  his  commands,  and  Briinn- 
hilde flies  before  him,  taking  Sieglinda  on  her 
swift  horse  Grane,  which  bears  both  through 
the  clonds. 

In  tlie  third  scene  we  find  the  Walkyries  ar- 
riving through  the  clouds  on  horseback  one  after 
the  other.  Every  one  has  a  hero  lying  before 
her  in  the  "saddle.  It  is  their  office  to  carry 
these  into  Walhalla,  while  the  faint-hearted, 
or  those  of  mankind,  not  happy  enough  to  fall 
in  battle  are  doomed  to  go  to  Hel  after  their 
death. 

There  are  eight  Walkyries  without  Briinn- 
hilde, who  comes  last  with  Sieglinda  in  her  sad- 

442 


The  Walkyrie 

die,  instead  of  a  hero.  She  implores  her  sisters 
to  assist  her  and  the  unhappy  woman.  But 
they  refuse,  fearing  TVotan's  wrath.  Then  she 
resolves  to  save  Sieglinda  and  to  brave  the  re- 
sults of  her  rash  deed  alone.  She  first  summons 
back  to  the  despairing  woman  courage  and  de- 
sire to  live,  by  telling  her  that  she  bears  the 
token  of  Siegmund's  love,  then  sends  her  east- 
ward to  the  great  forest  with  Grane,  where 
Fafner  the  giant,  changed  into  a  dragon,  guards 
the  Rhinegold  and  the  ill-fated  ring,  a  spot 
which  Wotan  avoids. 

She  gives  to  Sieglinda  the  broken  pieces  of 
Siegmund's  sword,  telling  her  to  keep  them  for 
her  son,  whom  she  is  to  call  Siegfried  and  who 
will  be  the  greatest  hero  in  the  world. 

Wotan  arrives  in  thunder  and  lightning. 
Great  is  his  wrath,  and  in  spite  of  the  interces- 
sion of  the  other  Walkyries  he  deprives  Briinn- 
hilde  of  her  immortality,  changing  her  into  a 
common  mortal.  He  dooms  her  to  a  long  magic 
sleep,  out  of  which  any  man  who  happens  to 
pass  that  way  may  awaken  her  and  claim  her  as 
his  property. 

Brunnhilde's  entreaties,  her  beauty  and  noble 
bearing  at  last  prevail  upon  him,  so  that  he  en- 
circles her  with  a  fiery  wall,  through  which  none 
but  a  hero  may  penetrate. 

After  a  touching  farewell  the  god,  leading 
her  to  a  rocky  bed,  closes  her  eyes  with  a  kiss, 

443 


The  Standard  Operaglass 

and  covers  her  with  shield,  spear  and  helmet. 
Then  he  calls  up  Loge,  who  at  once  surrounds 
with  glowing  flames  the  rock  on  which  Briinn- 
hilde  sleeps. 

ZAMPA 

Opera  in  three  acts  by  HEROLD 
Text  by  MELLESVILLE 

This  opera  has  met  with  great  success  both  in 
France  and  elsewhere;  it  is  a  favorite  of  the 
public,  though  not  free  from  imitating  other 
musicians,  particularly  Auber  arid  Eossini.  The 
style  of  the  text  is  somewhat  bombastic,  and 
only  calculated  for  effect.  Notwithstanding 
these  defects  the  opera  pleases;  it  has  a  bril- 
liant introduction,  as  well  as  nice  chorus  pieces 
and  cavatinas. 

In  the  first  act  Camilla,  daughter  of  Count 
Lugano,  expects  her  bridegroom,  Alfonso  di 
Monza,  a  Sicilian  officer,  for  the  wedding  cere 
mony.  Dandolo,  her  servant,  who  was  to  fetch 
the  priest,  comes  back  in  a  fright  and  with  him 
the  notorious  pirate  captain,  Zampa,  who  has 
taken  her  father  and  her  bridegroom  captive. 
He  tells  Camilla  who  he  is,  and  forces  her  to 
renounce  Alfonso  and  consent  to  a  marriage 
with  himself,  threatening  to  kill  the  prisoners 
\f  she  refuses  compliance.     Then  the  pirates 

444 


Zampa 

hold  a  drinking  bout  in  the  Count's  house,  and 
Zampa  goes  so  far  in  his  insolence  as  to  put  his 
bridal  ring  on  the  finger  of  a  marble  statue 
standing  in  the  room.  It  represents  Alice, 
formerly  Zampa's  bride,  whose  heart  was  broken 
by  her  lover's  faithlessnss;  then  the  fingers  of 
the  statue  close  over  the  ring,  while  the  left 
hand  is  upraised  threateningly.  Nevertheless 
Zampa  is  resolved  to  wed  Camilla,  though  Alice 
appears  once  more,  and  even  Alfonso,  who  in- 
terferes by  revealing  Zampa's  real  name  aud  by 
imploring  his  bride  to  return  to  him,  cannot 
changethe  brigand's  plans.  Zampa  and  his 
comrades  have  received  the  Viceroy's  pardon, 
purposing  to  fight  against  the  Turks,  and  so 
Camilla  dares  not  provoke  the  pirate's  wrath 
by  retracting  her  promise.  Vainly  she  implores 
Zampa  to  give  her  father  his  freedom  and  to  let 
her  enter  a  convent.  Zampa,  hoping  that  she 
only  fears  the  pirate  in  him,  tells  her  that  he  is 
Count  of  Monza,  and  Alfonso,  who  had  already 
drawn  his  sword,  throws  it  away,  terrified  to 
recognize  in  the  dreaded  pirate  his  own  brother, 
who  has  by  his  extravagances  once  already  im- 
poverished him. 

Zampa  sends  Alfonso  to  prison  and  orders  the 
statue  to  be  thrown  into  the  sea.  Camilla  once 
more  begs  for  mercy,  but,  seeing  that  it  is  likely 
to  avail  her  nothing,  she  flies  to  the  Madonna's 
altar,  charging  him  loudly  with  Alice's  death. 

445 


The  Standard  Operaglass 

With  scorn  and  laughter  he  seizes  Camilla,  to 
tear  her  from  the  altar,  but  instead  of  the  living 
hand  of  Camilla  he  feels  the  icy  hand  of  Alice, 
who  draws  him  with  her  into  the  waves. 

Camilla  is  saved  and  united  to  Alfonso,  while 
her  delivered  father  arrives  in  a  boat,  and  the 
statue  rises  again  from  the  waves,  to  bless  the 
union. 

LA    BOHEME 

Opera  in  four  acts  by  GIACOMO  PUCCINI 
Text  dy  G.  GIACOSA  and  L.  ILLICA 

This  charming  opera  was  first  presented  at 
the  Eegio  Theatre,  Turin  February  1,  1896, 
and  has  been  widely  popular  ever  since.  The 
material  was  gathered  from  Miirger's  novel 
"  Vie  de  Boheme,"  and  the  music,  which  is 
thoroughly  Italian  in  character,  is  full  of  life 
and  vigor,  interspersed  here  and  there  with  rare 
touches  of  sweetness  and  grace. 

The  scene  is  laid  in  the  Quartier  Latin  of 
Paris  in  the  year  1830,  and  the  first  act  opens 
in  a  bare  attic  studio  where  Marcel,  an  artist, 
and  his  friend  Eudolph,  a  poet,  are  seen  hud- 
dled over  a  small  stove,  endeavoring  to  keep 
themselves  warm  by  burning  the  numerous 
manuscripts  of  the  good-natured  poet.  They  are 
shortly  joined  by  their  friends  Colline,  a  phil- 
osopher,  and   Schaunard,  a  musician.     These 

446 


La   Boheme 

four  Bohemians  form  an  inseparable  quartet, 
who  live,  love,  and  work  together  in  perfect 
harmony.  They  live  entirely  by  their  wits, 
spending  their  money  freely  when  they  have  it, 
and  cheerfully  submitting  to  misfortune  when 
she  sees  fit  to  frown  upon  them.  Greatly  to 
the  surprise  of  his  friends,  Schaunard  produces 
a  pocket  full  of  gold,  with  which  they  imme- 
diately purchase  the  much  needed  fuel,  and  a 
sumptuous  feast.  Their  appetites  not  yet  being 
appeased  they  decide  to  visit  a  nearby  cafe  to 
continue  their  meal,  but  Eudolph  who  has  an 
important  manuscript  to  finish,  remains  behind, 
promising  to  join  them  presently.  He  is  inter- 
rupted in  his  work  by  a  knock  at  the  door,  and 
Mimi,  a  beautiful  flower  girl  who  rooms  below, 
enters  to  beg  the  loan  of  a  candle.  Her  refined 
features  and  graceful  figure  appeal  to  the  ar- 
tistic sense  of  Rudolph,  who  immediately  falls 
in  love  with  her  and  induces  her  to  accompany 
him  to  the  Cafe  Momus,  where  his  friends  are 
dining.  In  the  midst  of  tbeir  jolly  meal, 
Mademoiselle  Musetta,  a  pretty  and  coquettish 
damsel,  enters  in  company  with  a  pompous  old 
gentleman  named  Alcindoro,  and  they  seat 
themselves  at  an  adjoining  table.  It  so  hap- 
pens that  Musetta  is  an  old  time  love  of  Mar- 
cel's, and  on  seeing  him  she  declares  that  the 
shoes  she  has  on  are  pinching,  and  begs  her  dig- 
nified esoort  to  go  out  and  purchase  a  larger 

447 


The  Standard   Operaglass 

pair.  As  soon  as  he  disappears,  Musetta  joins 
the  merry  Bohemians,  and  leaving  both  bills  for 
poor  old  Alcindoro  to  pay  they  take  their  de- 
parture. 

After  a  time  Mimi  and  Musetta  become  dis- 
satisfied with  their  Bohemian,  lovers  on  account 
of  their  poverty,  as  their  chief  ambition  in  life 
is  to  wear  fine  clothes  and  ride  in  broughams. 
They  therefore  leave  them  to  seek  the  luxuries 
offered  elsewhere.  Their  hearts,  however,  still 
yearn  for  their  old  lovers  and  the  delightful 
little  suppers  of  the  Quartier  Latin. 

Eudolph  and  Marcel  lead  lonely  and  dejected 
lives  after  the  departure  of  their  sweethearts, 
and  secretly  long  for  the  return  of  the 
old  happy  days.  Some  months  after,  while  in 
the  studio  discussing  the  virtues  of  their  re- 
spective loves,  Musetta  suddenly  rushes  in  upon 
them  in  a  state  of  great  agitation,  exclaiming 
that  the  deserted  Mimi  is  below,  half  starved 
and  dying.  Eudolph  runs  madly  down  the 
stairs,  and  bringing  up  the  unconscious  girl  in 
his  arms,  lays  her  tenderly  upon  the  couch,  and 
pours  forth  the  love  of  his  heart  in  her  willing 
ear,  swearing  that  never  shall  they  be  parted 
again.  Soothed  by  his  words  of  love,  Mimi  falls 
into  a  deep  and  peaceful  sleep.  The  others,  in 
the  meantime,  have  brought  food  and  medicine 
for  the  patient,  and  Eudolph  going  softly  to  the 
bedside  to  awaken  her,  finds  that  she  has  passed 

448 


Le  Cid 

away.  With  an  agonizing  cry  he  falls  sobbing 
on  her  lifeless  body,  while  his  sorrowful  friends, 
dazed  at  the  suddennes  of  the  catastrophe, 
gather  in  pitying  silence  around  them. 


LE    CID 

Opera  in  four  acts  by  JULES  MASSENET 

Text  by  DENNERY,  GALLET  and  BLAU 

This  is  considered  by  many  to  be  the  com- 
poser's best  work,  and  it  has  been  immensely 
popular  from  the  time  of  its  production  in  Paris 
in  1885.  The  music  is  easy  flowing  and  brilliant, 
and  is  beautifully  adapted  to  the  libretto. 

The  first  scene  is  in  the  house  of  the  Count 
de  Gormas,  where  several  noblemen  are  discuss- 
ing the  coming  honor  of  knighthood,  which  the 
King  of  Spain  is  about  to  confer  on  the  popu- 
lar young  hero  Eodrigo,  son  of  Don  Diego,  a 
renowned  warrior.  The  King  is  also  to  appoint 
on  that  day  a  preceptor  for  his  daughter,  and 
it  is  the  general  opinion  that  Count  de  Gormas 
will  be  the  one  selected  to  fill  this .  honorable 
position. 

Ximene,  the  beautiful  daughter  of  Count  de 
Gormas,  is  deeply  in  love  with  Eodrigo,  who 
returns  her  affection.  She  confides  her  love  to 
the  Infanta,  who  in  her  turn  confesses  a  pas- 
sion for  Rodrigo,  but  realizing  her  position  as 
2Q  449 


The  Standard   Operaglass 

heir  to  the  throne  of  Castile,  promises  Ximene 
to  conceal  her  own  feelings,  and  to  assist  in 
uniting  the  lovers. 

In  the  next  scene  the  knighthood  of  Kodrigo 
takes  place  amid  the  great  rejoicing  of  the 
people.  After  the  ceremony,  the  King  appoints 
Don  Diego  preceptor  for  his  daughter,  much 
to  the  chagrin  of  Count  de  Gormas,  who  inten- 
tionally picks  a  quarrel  with  the  aged  Don 
Diego,  and  easily  disarms  him.  Don  Diego, 
overcome  with  shame  at  this  disgrace,  calls  on 
his  son  to  avenge  his  honor.  Rodrigo  is  over- 
whelmed with  grief  when  he  hears  that  it  is 
Ximene's  father  that  he  must  meet,  but  the 
family  name  is  at  stake,  and  he  swears  to  de- 
fend it. 

They  meet  in  a  moonlit  street  near  the 
Count's  palace,  and  the  Count  is  slain  by  Rod- 
rigo. Ximene,  hearing  the  disturbance  comes 
forth,  and  finding  her  father's  dead  body, 
swears  to  be  revenged  on  his  murderer,  and 
goes  immediately  to  the  King,  demanding  jus- 
tice. The  King  is  about  to  regretfully  con- 
demn Rodrigo  to  death,  when  a  messenger  ar- 
rives with  news  that  a  great  army  of  Moors 
is  approaching,  and  Rodrigo  obtains  the  grace 
of  a  day  to  lead  the  attack  against  the  enemy, 
promising  that,  if  he  survives,  he  will  return 
and  give  himself  up  to  justice.  Before  leaving 
he  seeks  an  interview  with  Ximene,  and  tells 

450 


Coppelia 

her  that  he  intends  to  let  himself  be  killed  in 
battle.  This  so  frightens  her  that  she  confesses 
her  love,  and  begs  him  to  protect  himself  and 
defeat  the  enemy,  and  thus  atone  for  his  crime. 
Kodrigo  goes  forth  to  war  with  a  light  heart 
and  vanquishes  the  Moors,  and  is  hailed  by  them 
the  "  Cid "  or  conqueror.  On  his  return  he 
gives  himself  up  to  the  King  according  to  his 
promise,  who  gladly  pardons  him  on  hearing 
that  Ximene  has  confessed  her  love  and  re- 
nounced her  vengeance,  and  the  lovers  are  hap- 
pily betrothed  amid  great  rejoicing  of  the 
people. 

COPPELIA 

Grand  Ballet  in  three  acts  by  LEO  DELIBES 
Text  by  CHARLES  NUITTER  and  A.  SAINT-LEON 

The  ballet  of  action,  when  well  conducted, 
is  always  a  pleasing  form  of  entertainment,  and 
Coppelia  has  been  a  decided  success  from  the 
time  of  its  first  production  in  Paris  in  1870. 
The  plot,  which  is  founded  on  Hoffman's  story 
"  Der  Sandmann,"  is  clever  and  amusing.  The 
ballet  throughout  is  arranged  with  considerable 
skill  and  taste,  and  the  music  is  bright  and 
sparkling. 

The  scene  is  laid  in  a  small  town  near  Galicia, 
and  in  the  first  act  the  public  square  is  shown 
with  the  residence  of  Coppelius  prominently  in 

451 


The  Standard  Operaglass 

view.  At  one  of  the  barred  windows  of  the 
house  sits  Coppelia,  the  beautiful  and  myste- 
rious daughter  of  old  Coppelius.  She  is  appar- 
ently a  prisoner  in  her  father's  house,  as  no  one 
has  ever  seen  her  outside  or  even  heard  the 
sound  of  her  voice.  Many  young  gallants  have 
tried  to  gain  admittance,  but  old  Coppelius  will 
admit  no  one,  and  Coppelia  remains  the  mys- 
tery of  the  village. 

Swanilda,  a  young  maiden  of  the  town,  sus- 
pects her  lover  Frantz  of  being  in  love  with 
Coppelia,  and  appears  before  the  house  trying 
every  means  in  her  power  to  attract  the  atten- 
tion of  her  rival,  but  all  in  vain.  Becoming 
impatient,  she  is  in  the  act  of  knocking  at  the 
door  to  gain  admittance,  when  Coppelius  ap- 
pears at  one  of  fhe  windows.  She  then  conceals 
herself  in  the  shadow  of  the  house,  and  while 
hiding  there,  her  lover  Frantz  appears  on  the 
scene,  and,  observing  Coppelia  at  her  window, 
bows  and  throws  kisses  to  her.  Swanilda  be- 
comes madly  jealous,  and,  pretending  not  to 
see  Frantz,  runs  gaily  after  a  passing  butterfly. 
Frantz  follows  her,  and,  catching  the  butterfly, 
pins  it  to  her  coat,  for  which  he  is  severely 
reproached  by  Swanilda  for  his  cruelty.  She 
then  tells  him  that  she  has  discovered  his  treach- 
ery, and  that  she  no  longer  cares  for  him,  and 
while  Frantz  is  endeavoring  to  defend  himself, 
they  are  interrupted  by  the  entrance   of  the 

452 


Coppelia 

Burgomaster,  and  many  peasants,  who  are  pre- 
paring for  the  grand  fete  which  is  to  take  place 
the  next  day.  Observing  Swanilda,  the  Burgo- 
master promises  that  on  the  morrow  she  shall 
be  wedded  to  Frantz,  but  she  declares  that  she 
no  longer  cares  for  her  fiance,  and  will  not 
marry  him. 

The  peasants  gradually  disperse,  and  when 
the  street  is  deserted  Coppelius  comes  forth 
from  his  house  and  disappears  in  the  darkness. 
Swanilda  and  some  girl  friends,  who  are  se- 
cretly watching  Coppelius,  notice  that  he  drops 
a  key  from  his  pocket,  and  on  discovering  that 
it  is  the  key  to  his  house,  their  curiosity  gets 
the  better  of  them,  and  they  enter.  Meanwhile, 
Frantz,  who  has  been  lurking  in  the  neighbor- 
hood, has  also  noticed  the  departure  of  Coppe- 
lius, and  obtaining  a  ladder,  is  in  the  act  of 
entering  the  window  of  Coppelia's  chamber 
when  he  is  discovered  by  the  enraged  Coppelius, 
who  has  returned  to  look  for  his  key. 

The  second  act  discloses  the  studio  of  Cop- 
pelius. where  the  frightened  maidens  are  seen 
examining  the  weird  ornaments  of  the  myste- 
rious room.  At  length  they  discover  that  Cop- 
pelia and  all  the  figures  are  in  reality  nothing 
but  automatons,  and  losing  their  fear  they  press 
the  springs,  and  set  the  numerous  figures  to 
dancing  and  playing.  They  soon  are  disturbed 
in  their  merriment  by  the  entrance  of  the  en- 

453 


The  Standard  Operaglass 

raged  Coppelius,  but  all  succeed  in  making 
their  escape  with,  the  exception  of  Swanilda, 
who  conceals  herself  behind  a  curtain.  The 
persistent  Frantz  in  the  meantime  again  makes 
use  of  the  ladder  and  enters  the  studio  window, 
only  to  be  pounced  upon  by  Coppelius,  who, 
pretending  friendliness,  induces  him  to  drink 
of  a  magic  potion,  which  he  hopes  will  have  the 
effect  of  taking  a  few  sparks  of  life  from 
Frantz's  body,  which  he  then  will  infuse  into 
the  automaton  Coppelia.  Mistaking  Swanilda 
for  Coppelia,  he  becomes  wild  with  joy  when  he 
sees  that  his  experiment  is  evidently  success- 
ful, and  that  Coppelia  is  actually  turning  into 
a  living  woman.  After  practicing  the  deception 
for  a  time,  Swanilda  restores  Frantz  to  himself, 
and  they  rush  from  the  house  together,  leaving 
poor  old  Coppelius  in  the  belief  that  his  reason 
has  deserted  him. 

In  the  tableau  which  follows,  Frantz  and 
Swanilda  are  happily  married,  and  the  house 
of  Coppelius  is  ransacked  by  the  guards,  and 
his  pieces  of  workmanship  are  smashed  to  atoms. 
He  is  partly  appeased,  however,  by  the  Lord  of 
the  Manor,  who,  at  Swanilda's  request,  gives 
him  a  purse  of  money. 

The  third  act,  which  is  a  pantomime,  deals 
with  the  fete  of  the  Bell.  First  is  seen  the 
morning  prayer,  which  is  followed  by  the  work- 
ing hours,  when  the  young  girls  and  reapers 

454 


Dalila 

begin  their  work.  The  bell  rings,  and  their 
labors  being  over  for  the  day,  the  evening  is 
given  over  to  pleasure-making. 


DALILA 

French  Opera-biblique  in  three  acts  by  C.  SAINT- 

SAENS 

Text  by  FERDINAND  LEMAIRE 

Dalila  is  probably  the  masterpiece  of  the 
composer,  the  music  being  rich  and  varied,  and 
eminently  dramatic  in  its  composition.  The 
score  contains  some  perfect  melodies,  the  duet 
between  Samson  and  Dalila  ranking  among  the 
finest  love  scenes  ever  written. 

The  opera  opens  in  the  city  of  Gaza,  in  Pales- 
tine, where  Samson  is  discovered  trying  to  re- 
vive the  courage  of  the  disheartened  Hebrew 
soldiers. 

Abimelech,  Satrap  of  Gaza,  appears  on  the 
scene  with  a  throng  of  Philistines,  but  they 
are  quickly  dispersed,  and  the  Satrap  himself 
is  slain  by  Samson.  The  High  Priest  of  Dagon, 
on  discovering  the  dead  body  of  Abimelech, 
calls  on  his  followers  to  avenge  the  murder, 
but  all  in  vain.  Finding  that  Samson  is  not  to 
be  captured  by  force,  the  wily  priest  devises  a 
more  cunning  mode  of  attack.  He  seeks  the 
assistance  of  the  beautiful  Dalila,  and  persuades 

455 


The  Standard  Operaglass 

her  to  exert  her  charms  upon  his  enemy.  Her 
graces  prove  so  seductive  that  Samson  half  suc- 
cumbs, in  spite  of  the  warnings  of  the  Hebrews. 

The  scene  of  the  second  act  is  in  the  valley  of 
Soreck,  where  Dalila  and  the  High  Priest  are 
found  conspiring  to  deliver  Samson  to  the  Phi- 
listines, by  means  of  the  blandishments  of  the 
enchantress.  Samson,  yielding  to  her  continued 
entreaties,  tells  her  that  his  strength  lies  in  his 
hair.  Soothing  him  to  sleep,  she  shaves  off  his 
locks  and  puts  out  his  eyes.  He  is  then  easily 
captured  and  put  in  prison,  where  we  find  him 
in  the  third  act,  shorn  and  blind,  meekly  turn- 
ing a  hand-mill,  and  sorrowfully  listening  to 
the  rebukes  of  his  fellow  Hebrew  captives,  for 
his  weakness  in  yielding  to  the  love  of  a  woman. 

The  last  scene  is  the  temple  of  Dagon, 
where  the  Philistines  are  celebrating  their  vic- 
tory and  praising  Dalila  for  her  cleverness. 
Samson  is  led  in  by  a  youth,  and  is  hailed  with 
shouts  of  derision  by  his  enemies,  who  scoff  him 
for  being  enticed  by  a  woman's  wiles.  Samson, 
overwhelmed  with  grief,  remains  silent,  his  lips 
moving  in  prayer.  The  High  Priest,  deter- 
mined upon  his  death,  pours  a  deadly  poison 
into  a  cup  of  wine,  and  commands  Dalila  to 
serve  it  to  the  blind  hero,  who,  while  pretending 
to  approach  the  shrine,  whispers  to  the  youth 
to  guide  him  to  the  pillars  of  the  temple.  This 
being  done,  he  prays  aloud  to  the  God  of  Israel 

456 


Damnation   of  Faust 

to  renew  his  strength  for  just  one  instant.  The 
prayer  is  granted,  and  seizing  the  pillars  he 
overturns  them,  the  temple  collapsing  amid  the 
shrieks  and  cries  of  the  terrified  Philistines, 


DAMNATION    OF    FAUST 

Dramatic  Legend  in  four  acts  by  HECTOR  BERLIOZ 

Text  by  BERLIOZ,  GERARD  and  GANDONNIERE 

This  remarkable  opera,  while  deviating  from 
Goethe's  poem,  is  well  worthy  of  being  placed 
beside  the  original  drama.  The  orchestral 
composition  is  probably  unsurpassed  in  its 
weirdness  and  passion,  and  the  opera  as  a  whole 
ranks  among  the  noblest  examples  of  dramatic 
music.    It  was  first  presented  in  Paris  in  184fi. 

The  scene  opens  with  Faust  wandering  alone 
in  the  fields  of  Hungary,  singing  to  the  awaken- 
ing spring.  The  sight  of  the  merry  soldiers 
and  peasants  sends  him  home  sad  and  melan- 
choly, where  we  find  him  in  the  second  act 
preparing  a  dose  of  poison  to  end  his  sufferings. 
The  sweet  strains  of  religious  music  in  the  dis- 
tance stays  his  hand,  and  while  in  meditation. 
Mephistopheles  suddenly  appears,  and  persuades 
him  to  accompany  him  to  the  Inn  of  Auerbach 
in  Leipsic.  Faust  soon  tires  of  the  vulgar 
songs  of  the  students,  and  Mephistopheles  wafts 

457 


The  Standard  Operaglass 

him  away  to  the  beautiful  banks  of  the  River 
Elbe,  where  the  enchanting  voices  of  sylphs  and 
fairies  soothe  him  to  sleep,  only  to  dream  and 
long  for  his  love,  Marguerite. 

In  the  third  act  Mephistopheles  takes  Faust 
secretly  to  Marguerite's  chamber,  where  Faust 
pours  forth  his  love  in  a  song  of  such  deep  pas- 
sion that  the  mother  and  friends  of  Marguerite 
are  awakened,  and  come  knocking  at  the  door. 
The  demon  drags  Faust  away  unseen,  and  the 
unhappy  girl  is  left  alone  and  defenceless. 

At  the  opening  of  the  fourth  act  Marguerite 
is  in  her  chamber  weeping  and  yearning  for 
Faust,  who  has  meanwhile  retreated  to  a  cavern 
in  the  forest,  where  he  is  bemoaning  his  separa- 
tion from  his  love.  Mephistopheles  again  visits 
him,  and,  working  on  his  sympathy,  persuades 
him  to  sign  an  oath  to  enter  his  service  on  the 
morrow,  promising  as  a  reward  to  conduct  him 
immediately  to  Marguerite.  Mounting  two 
black  steeds,  they  rush  wildly  through  space,  and 
after  passing  among  witches  and  hideous  mon- 
sters arrive  in  hell,  where  Faust  is  received 
with  shouts  of  satanic  joy  by  the  demons. 

In  the  epilogue  which  follows,  the  unhappy 
and  repentant  Marguerite  is  pardoned  by  the 
Almighty  and  ascends  with  the  virgins  to  the 
Kingdom  of  Heaven. 


458 


L'Elisir  D'Amore 


L'ELISIR    D'AMORE 

An  Italian  Buffa  in  two  acts  by  GOETANO 
DONIZETTI 

Text  by  ROMAM 

This  graceful  little  opera  was  first  presented 
in  Milan  in  1832.  It  is  bright  and  gay  in  its 
construction,  and  the  music  throughout  is  me- 
lodious and  pleasing,  especially  the  charming 
romanza  in  the  second  act  ("  Una  furtiva  la- 
crima"),  which  is  one  of  the  most  popular 
songs  in  light  opera. 

Adina,  a  wealthy  and  capricious  young  coun- 
try girl,  is  devotedly  loved  by  Nemorino,  a  hand- 
some, but  poor,  young  peasant.  She  looks  rather 
favorably  upon  his  suit  until  Belcore,  the  dash- 
ing sergeant  of  the  village  garrison,  begins  to 
pay  her  attention.  Nemorino,  in  despair  at  the 
success  of  his  rival,  visits  Doctor  Dulcamara, 
a  quack  physician,  and  purchases  from  him 
the  Elixir  of  Love,  by  which  he  hopes  to  win 
back  Adina.  The  mountebank  gives  him  a  bottlo 
of  Bordeaux  wine,  which  the  simple  peasant 
drinks  at  a  gulp,  and,  becoming  typsy,  so  en- 
rages Adina,  that  she  promises  to  marry  Bel- 
core  on  the  morrow.  The  gallant  sergeant  un- 
expectedly receiving  orders  to  leave  the  village 
urges  Adina  to  marry  him  immediately.  Nemo- 
rino  is  in  despair  upon  hearing  this,  for  tho 

459 


The  Standard  Operaglass 

Elixir  was  not  to  take  effect  until  the  following 
day.  He  therefore  goes  again  to  the  mounte- 
bank, imploring  him  for  another  vial,  but  hav- 
ing no  money  the  Doctor  refuses  to  supply  him. 

In  despair,  Nemormo  enlists  in  the  army  on 
the  advice  of  Belcore,  thereby  securing  the  pay 
of  twenty  crowns,  with  which  he  purchases  a 
second  bottle  of  the  famous  Elixir. 

In  the  meantime  the  maidens  in  the  village 
have  learned  that  Nemormo's  rich  uncle  has 
died,  leaving  him  all  his  property.  They  crowd 
about  him,  showing  the  greatest  respect  and 
attention,  which  Nemorino  naturally  attributes 
to  the  Elixir,  knowing  nothing  of  the  death  of 
his  uncle.  Adina  seeks  Doctor  Dulcamara,  and 
hearing  from  him  of  Nemorino's.  devotion,  is 
filled  with  remorse.  She  goes  at  once  to  Bel- 
core,  and  announcing  her  change  of  mind,  pays 
off  Nemorino's  ransom,  which  releases  him  from 
his  obligations  to  the  sergeant.  She  then  be- 
stows her  hand  upon  her  happy  lover,  who  is 
firm  in  his  belief  that  he  owes  his  good  fortune 
to  the  magic  influence  of  the  Elixir  of  Love. 

EENANI 

Tragic  Opera  in  four  acts  by  GIUSEPPE  VERDI 

Text  by  COUNT  PI  AVE 

The  story  of  this  opera  was  taken  from  Victor 
Hugo's  tragedy  "  Hernani."     It  was  received 

460 


Ernani 

with  enthusiasm  when  first  presented  in  Venice 
in  1844,  though  later  productions  gave  the  com- 
poser much  trouble  on  account  of  the  hostility 
of  Victor  Hugo,  who  demanded  that  the  libretto 
should  be  changed.  Later  the  poet  was  appeased 
and  the  opera  became  immensely  popular.  The 
music  is  full  of  that  genuine  passionate  warmth 
and  dramatic  power  which  characterizes  all  the 
works  of  this  composer. 

The  action  takes  place  in  Aragon,  Spain,  in 
the  year  1519.  Ernani,  the  son  of  the  Duke  of 
Segorbia,  has  been  outlawed  by  the  King,  and 
has  become  chief  of  a  band  of  noted  brigands. 
He  is  deeply  in  love  with  Elvira,  a  noble  Span- 
ish lady,  and  on  hearing  that  she  is  betrothed  to 
Don  Gomez  de  Silva,  an  aged  grandee  of  Spain, 
determines  to  intervene,  and  to  carry  her  off 
if  possible. 

During  the  preparations  for  the  marriage, 
Don  Carlos,  King  of  Spain,  enters  Elvira's 
chamber,  and,  declaring  his  passion,  tries  to 
steal  her  away  from  the  castle.  Her  cries  for 
help  bring  Ernani  and  Silva  to  her  rescue,  and 
the  latter,  after  challenging  both  of  his  rivals, 
recognizes  his  King,  and,  falling  on  his  knees, 
craves  pardon,  which  is  granted. 

As  the  wedding  nuptials  are  about  to  be  sol- 
emnized, Ernani  makes  his  appearance,  dis- 
guised as  a  pilgrim,  and,  believing  Elvira  to  be 
false  to  him,  discards  his  disguise  in  the  pres- 

461 


The  Standard  Operaglass 

ence  of  Silva,  and  scornfully  demands  to  be 
given  up  to  the  King.  Silva  at  first  refuses  to 
betray  his  guest,  but,  on  finding  that  Ernani  and 
Elvira  still  love  each  other,  swears  to  be  re- 
venged. 

The  King  again  appears,  and  demands  the 
arrest  of  Silva  if  he  does  not  give  up  Ernani, 
but  Elvira  pleads  so  strongly  for  them  that  he 
relents  and  takes  her  away  as  a  hostage  of  the 
faith  of  Silva.  Silva  at  once  challenges  Er- 
nani, who  refuses  to  fight  with  his  aged  pro- 
tector, but  promises  to  give  himself  up  to  the 
King  if  he  may  be  permitted  to  see  Elvira 
again  before  he  dies.  On  hearing  that  the 
King  has  carried  her  oif,  Ernani  determines 
on  revenge,  and  promises  Silva  that  he  will 
forfeit  his  life  at  any  time  if  he  will  assist  him 
in  his  vengeance.  To  bind  the  contract  Er- 
nani presents  him  with  a  horn,  which  he  is  to 
sound  when  he  wishes  the  promise  fulfilled. 

The  King  hears  of  the  plot  against  his  life, 
and  conceals  himself  in  the  Catacombs  in 
Aquisgrana,  knowing  that  the  assassins  are  to 
gather  there.  During  the  meeting  of  the  con- 
spirators the  King  suddenly  appears  in  their 
midst,  condemning  all  the  commoners  to  prison 
and  the  nobles  to  execution.  Ernani,  by  right 
of  birth,  demands  to  be  sentenced  with  the 
nobles,  but  the  King,  wishing  to  reign  by  love 
rather  than  by  fear,  magnanimously  pardons  all 

462 


La  Favorita 

the  conspirators,  and  consents  to  the  union  of 
Ernani  and  Elvira. 

This  enrages  the  jealous  Silva,  who  appears 
in  disguise  at  the  wedding  festivities,  and 
blows  a  blast  upon  the  fatal  horn.  Ernani,  true 
to  his  promise,  stabs  himself  to  the  heart,  and 
dies  in  the  arms  of  Elvira. 

LA   FAVORITA 

Grand  Opera  in  four  acts  by  GOETANO  DONIZETTI 
Text  by  KOYER  and  WAETZ 

This  opera  is  most  powerful  in  its  dramatic 
effect,  and  the  score  contains  some  marvelous 
melodies,  not  only  in  passion  and  fury,  but  also 
in  pathos  and  solemnity.  It  was  first  presented 
at  the  Academie  Royale  de  Musique,  Paris,  De- 
cember 2,  1804. 

The  action  of  the  opera  is  supposed  to  take 
place  in  Spain  in  the  year  1340.  Ferdinand, 
a  novice  in  the  convent  of  St.  James,  is  about 
to  assume  vows,  when  he  sees  and  falls  in  love 
with  Leonora  di  Gusman,  who,  unknown  to  him 
is  the  favorite  of  Alfonso  XI,  King  of  Castile. 
Ferdinand  leaves  the  convent  in  pursuit  of 
Leonora,  and  succeeds  in  obtaining  access  to  her 
at  her  beautiful  home  on  the  Isle  of  St.  Leon. 
He  declares  his  love  for  her,  and  finds  it  purely 
reciprocated,  Leonora  being  careful  not  to  re- 
veal her  real  position.     Ferdinand  urges  her  to 

463 


The  Standard  Operaglass 

fly  with  him;  this  she  cannot  do,  but  secures 
for  him  a  commission  in  the  army,  and  tells 
him  to  go  to  the  wars  and  prove  himself  worthy 
of  her  hand. 

King  Alfonso  wishes  to  divorce  his  Queen  and 
marry  Leonora,  but  the  Papal  throne  is  so 
openly  opposed  to  this  that  he  dares  not  do  it. 
At  this  juncture,  Ferdinand  returns  from  the 
wars,  where  he  has  gallantly  defeated  the  Moors 
and  practically  saved  the  kingdom  from  ruin. 
The  King  heaps  rewards  upon  him,  and,  fearing 
the  Papal  malediction,  consents  to  his  marriage 
with  Leonora.  Ferdinand,  still  ignorant  of 
Leonora's  relations  to  the  King,  presses  his  suit, 
and  is  accepted,  she  believing  that  her  lover 
knows  all  and  has  forgiven. 

After  his  marriage  the  nobles  taunt  him  of 
the  stain  upon  his  honor,  and  even  his  beloved 
friend  Balthazar,  superior  of  the  convent,  re- 
coils from  him.  Finally,  learning  the  truth, 
he  renounces  his  bonds,  and  madly  cursing  the 
King  ahd  Leonora,  returns  once  more  to  the 
convent.  The  heartbroken  Leonora,  disguised 
as  a  novice,  goes  to  the  convent  of  St.  James, 
where  she  is  forgiven  by  Ferdinand,  who,  over- 
come by  his  great  love,  again  urges  her  to  fly 
with  him.  It  is  too  late,  however,  for  with 
a  prayer  of  thanksgiving  at  her  absolution,  the 
repentant  Leonora  expires  in  the  arms  of  her 
grief-stricken  lover. 

464 


Lakmd 


LAKME 
Romantic  Opera  in  three  acts  by  LEO  DELIBES 

Text  by  GONDINET  and  PH.  GILLE 

This  opera  was  adopted  from  the  romance 
"  Le  Mariage  de  Loti,"  and  was  first  given  in 
Paris  in  1883.  Delibes  is  at  his  best  in  light 
opera  and  ballets.  The  composition  which  is 
Oriental  in  character,  lacks  the  dramatic  inter- 
est which  the  libretto  demands,  nevertheless, 
it  is  attractive  when  performed  by  good  artists. 
because  of  its  charming  love  songs  and  graceful 
duets. 

The  scene  is  laid  in  India  in  a  locality  re- 
cently subdued  by  the  English.  The  first  act 
presents  the  private  gardens  of  Nilakantha,  an 
Indian  priest,  who  has  a  great  dislike  for  all 
foreigners.  A  small  party  of  English  ladies 
and  British  officers,  including  Gerald  and  Fred- 
erick, intrude  upon  his  sacred  grounds  while 
strolling  about  in  search  of  amusement.  They 
discover  some  magnificent  jewels,  which  Lakme. 
daughter  of  Nilakantha,  has  left  upon  a  shrine, 
and  Gerald  is  so  struck  by  their  beauty  that  he 
remains  to  make  a  sketch  of  them  for  his  fiancee, 
Ellen,  while  the  others,  realizing  the  impro- 
priety of  their  intrusion,  retire  unnoticed. 
Lakme  soon  returns,  and  on  seeing  Gerald  im- 
mediately falls  in   love  with  him,  and   warns 

465 


The  Standard   Operaglass 

him  of  the  death  penalty  which  will  result 
if  his  presence  is  discovered.  Gerald  hastily 
conceals  himself  as  Nilakantha  enters,  but  the 
wily  priest  discovers  his  footprints,  and  declares 
that  he  must  be  captured,  and  suffer  the  penalty 
for  his  rashness. 

In  the  second  act,  Lakme  and  her  father,  dis- 
guised as  Penitents,  appear  in  the  public  square, 
where  a  grand  festival  is  taking  place  in  honor 
of  the  Gods  of  India.    Many  English  people  are 
present,  and  the  priest  commands  his  daughter 
to  sing  before  them,  hoping  she  will  be  recog- 
nized by  the  intruder,  and  that  he  will  thus  be 
induced  to  disclose  himself.    The  plan  succeeds, 
and  Xilakantha,  determined  on  revenge,  steals 
up  behind  Gerald  and  stabs  him  in  the  back. 
Lakme,  who  witnesses  the  deed,  hurries  to  the 
assistance  of  her  lover,  and  with  aid  of  Hadji, 
her  slave,  removes  him  to  a  hut  in  the  forest, 
where  he  is  seen  in  the  third  act  being  nursed 
back  to  life  and  strength  by  the  faithful  Lakme, 
who,  knowing  the  secret  properties  of  the  In- 
dian plants,  soon  restores  him  to  perfect  health. 
Under  her  tender  care  and  affection  Gerald  for- 
gets his  former  love  and  duties,  and  swears  eter- 
nal love  for  Lakme.     To  prove  his  constancy, 
he  begs  her  to  procure  a  draught  of  the  sacred 
water  which  possesses  the  property  of  making 
earthly  love  eternal.     While  she  is  absent  in 
search  of  it,  Frederick  appears  on  the  scene, 

466 


M 


anon 


urges  his  friend  to  leave  Lakme  and  his  present 
mode  of  living  and  to  return  to  his  fiancee  and 
his  duties  in  the  army.  Gerald  reluctantly  con- 
sents on  hearing  that  his  regiment  is  about  to 
be  ordered  into  action,  and  Frederick  leaves  just 
as  Lakme  returns  with  the  magic  potion.  She 
lovingly  offers  it  to  him,  but  as  she  does  so 
the  fifes  and  drums  of  his  troop  are  heard  in  the 
distance  preparing  for  their  departure,  and  the 
love  of  duty  overmastering  him,  Gerald  refuses 
to  drink.  The  heart-broken  Lakme  immediately 
sees  they  are  estranged  forever,  and  in  despair 
she  takes  a  deadly  poison,  and  falls  dying  in 
the  arms  of  her  lover  as  the  angry  priest  and  his 
Hindoo  followers  arrive  on  the  scene.  With 
her  last  breath  Lakme  urges  her  father  to  for- 
give him,  and,  the  request  being  granted,  Ger- 
ald is  allowed  to  depart  unharmed. 


MANON" 

Opera  in  five  acts  by  JULES  MASSENET 
Text  by  H.  MEILHAC  and  P.  GILLE 

Massenet  possesses  the  foresight  to  always 
select  subjects  for  his  operas  which  are  emi- 
nently suited  to  his  peculiar  genius,  and  this 
is  especially  true  in  the  adoption  of  Manon  from 
Abbe  Prevost's  famous  romance  "  Manon  Les- 
caut."    The  music,  which  is  full  of  poetry  and 

467 


The  Standard   Operaglass 

refinement,  suits  the  story  admirably.  It  was 
first  presented  with  great  success  at  the  Opera 
Comique,  Paris,  in  1884,  and  is  considered  to 
be  one  of  the  best  of  modern  French  operas. 

The  action  takes  place  in  the  year  1721,  the 
first  act  presenting  the  inn  at  Amiens,  where 
Guillot  Monfontain,  Minister  of  Finance,  and 
a  roue,  is  making  merry  with  a  party  of  friends. 
In  the  midst  of  their  festivities,  Manon,  a  vain 
and  beautiful  adventuress,  arrives  at  the  Inn, 
in  company  with  her  cousin,  Lescaut,  of  the 
Eoyal  Guards.  Guillot,  struck  with  the  beauty 
of  Manon,  leaves  his  friends,  and  tries  to  entice 
her  to  go  with  him,  but  is  rebuked  by  her,  and 
is  finally  compelled  to  retreat.  Lescaut,  after 
warning  his  cousin  against  Guillot,  leaves  her 
for  a  short  time  on  business,  and  during  his 
absence  the  Chevalier  Des  Grieux  arrives  at  the 
Inn,  and  immediately  falls  in  love  with  Manon 
on  account  of  her  beauty  and  seeming  simplic- 
ity. Although  about  to  take  holy  orders,  he 
becomes  so  infatuated  with  her  that  he  consents 
to  her  plan  of  making  use  of  Guillot's  carriage 
to  elope,  and  they  drive  to  Paris,  where  they 
are  found  in  the  second  act,  comfortably  estab- 
lished in  cozy  apartments  in  the  Hue  Vivienne. 
They  are  interrupted  by  the  entrance  of  the 
enraged  Lescaut  and  his  friend  De  Bretigny, 
a  nobleman  who  is  in  love  with  Manon.  The 
two  men    are    pacified   on    hearing   that    Des 

468 


Manon 

» 
Grieux  has  written  to  his  father  for  consent  to 
his  marriage  with  Manon,  but  it  so  happens  that 
the  Count,  his  father,  refuses  to  give  his  con- 
sent, and  Des  Grieux  is  seized  by  men  in  his 
father's  employ,  and  is  taken  away  from  his  love 
and  placed  in  captivity. 

The  third  act  reveals  the  fete  of  Cours  la 
Eeine  where  Manon  is  under  the  protection  of 
De  Bretigny.  They  encounter  Count  Des 
Grieux,  who  informs  De  Bretigny  that  his  son 
has  entered  the  Seminary  of  St.  Sulpice,  as  a 
priest,  on  account  of  the  conduct  of  Manon. 
On  hearing  this,  all  Manon's  love  for  the  Che- 
valier returns,  and  she  flies  from  De  Bretigny 
to  rejoin  her  lover.  After  a  great  struggle  with 
•himself  Des  Grieux  finally  succumbs  to  the  en- 
treaties of  Manon,  and  renouncing  the  priest- 
hood, goes  forth  again  into  the  gay  world. 

The  fourth  act  is  the  interior  of  a  fashionable 
gambling  house  in  Paris.  Des  Grieux  and 
Manon  enter,  and,  after  much  persuasion,  the 
Chevalier  consents  to  play,  in  hopes  of  winning 
riches  for  the  pleasure-loving  Manon.  He  plays 
in  remarkable  luck,  and  after  winning  contin- 
ually from  Guillot,  is  unjustly  accused  by  him 
of  cheating,  and  trouble  ensues.  The  Chevalier 
and  Manon  are  both  on  the  point  of  being  ar- 
rested when  the  Count  Des  Grieux  appears  and 
releases  his  son,  but  Manon,  is  captured  and 

condemned  to  exile. 

469 


The  Standard  Operaglass 

In  the  last  act,  Lescaut  and  Des  Grieux  are 
seen  hiding  in  a  lonely  spot  on  the  road  to 
Havre,  where  Manon  is  to  pass  on  her  way  to 
exile.  By  bribing  a  soldier,  the  unhappy  lover 
succeeds  in  obtaining  an  interview  with  Manon. 
He  urges  her  to  try  and  escape  with  him,  but 
she  is  too  weak  from  fatigue,  and,  after  praying 
him  to  forgive  her  for  unworthiness,  the  repen- 
tant Manon  dies  in  the  arms  of  the  grief- 
stricken  Chevalier. 


MANEU 

Romantic  opera  in  three  acts  by  I.  J.  PADEREWSKI 
Text  by  ALFRED  NOSSIG 

The  plot  of  this  opera  is  Paderewskrs  own 
conception.  It  was  first  presented  under  his 
direction  at  the  Court  Theatre,  Dresden,  May 
29,  1901.  The  opera  as  a  piece  of  real  musical 
workmanship  proves  conclusively  the  author's 
right  to  recognition  as  a  composer,  as  well  as 
a  musician.  He  skilfully  introduces  the  violin 
and  other  musical  instruments,  and  there  is  a 
delicacy  and  beauty  throughout  the  score  which 
secures  a  distinct  success  for'the  opera. 

The  scene  is  laid  in  the  Tatra  Mountains,  be- 
tween Gralicia  and  Hungary.  The  first  acts  pre- 
sents a  village  scene  in  the  mountains  where 
Hedwig   js    se§ji   bgmoaning   the   loss   of   her 

470 


Manru 

daughter  Ulana,  who  has  run  away  with  gypsy 
Manru.  Ulana  suddenly  appears  in  the  village, 
and  coming  to  her  mother's  cottage  begs  for- 
giveness for  herself  and  her  lover.  Hedwig 
promises  to  forgive  her  if  she  will  renounce 
Manru  forever,  but  this  the  girl  persistently  re- 
fuses to  do,  and  finally  her  mother  in  a  rage 
drives  her  from  the  door  with  curses.  Ulana 
then  seeks  the  assistance  of  Urok,  a  dwarf  and 
,  reputed  sorcerer,  who  has  often  confessed  his 
love  for  her.  From  him  she  obtains  a  magic 
potion  with  which  she  hopes  to  win  back  the 
love  of  Manru,  who  has  already  begun  to  tire  of 
his  exile,  and  to  long  for  the  old  roving  life 
of  the  Gypsies. 

The  second  act  shows  a  hut  in  the  mountains, 
where  Ulana  is  singing  a  lullaby  to  her  infant, 
while  Manru  is  struggling  between  his  love  and 
his  desire  to  join  the  Gypsies.  Urok  enters  the 
hut,  and  suddenlv  beautiful  violin  music  is 
heard  in  the  distance,  which  Manru  recognizes 
as  coming  from  the  Gypsy  fiddler,  Jogu. 
The  charm  of  the  music  proves  too  much  for 
him,  and  he  rushes  from  the  hut  and  dis- 
appears in  the  forest.  Jogu  tries  to  persuade 
him  to  rejoin  the  band  and  be  their  chief,  telling 
him  that  the  beautiful  Gypsy  maiden  Asa  is 
pining  with  love  for  him.  In  the  midst  of  his 
temptation  Ulana  appears  and  finally  persuades 
him  to  return  to  the  hut,  where  she  gives  him  a 

471 


The  Standard  Operaglass 

drink  of  the  magic  potion.  This  has  the  effect 
of  temporarily  winning  back  his  love. 

The  third  act  reveals  a  lake  in  the  mountains, 
where  Manru  is  seen  wandering  in  the  moon- 
light. He  hears  strange  voices  echoing  through 
the  mountains,  and,  becoming  weary,  falls  asleep 
beneath  the  trees,  where  he  is  found  shortly 
after  by  the  band  of  Gypsies.  The  maiden  Asa 
recognizes  him  immediately,  and  begs  Oros,  the 
Gypsy  chief,  to  forgive  him  and  receive  him 
back  into  the  tribe.  Oros  refuses  to  comply  with 
her  wishes,  and  finding  his  people  ready  to  for- 
give Manru,  leaves  the  band  in  anger.  Manru 
is  finally  persuaded  by  Asa  to  accept  the  posi- 
tion of  chief  in  Oros'  stead.  Urok  suddenly  ap- 
pears in  their  midst  and  pleads  with  Manru  not 
to  desert  Ulana  and  his  child,  but  all  in  vain, 
as  Manru  finally  succumbs  to  the  alluring  smiles 
of  Asa  and  disappears  in  the  mountains  with  the 
Gypsy  band. 

On  hearing  of  her  desertion,  Ulana,  mad- 
dened with  grief,  throws  herself  into  the  lake 
and  is  drowned.  Manru  and  Asa,  walking  down 
the  mountain  path  with  their  arms  about  each 
other,  are  suddenly  confronted  by  Oros,  who, 
grappling  with  Manru,  hurls  him  into  the  abyss, 
thereby  regaining  his  position  as  chief  of  the 
Gypsies. 


472 


Mefistofele 


MEFISTOFELE 

Grand  Opera  in  prologue,  four  acts,  and  epilogue 

Music  and  text  by  AKRIGO  BOITO 

This  is  one  of  the  strongest  Italian  operas, 
and  the  composer  is  often  called  the  "  Italian 
Wagner."  It  was  first  presented  in  Milan  in 
1868.  The  libretto  is  a  paraphrase  of  Goethe's 
Faust,  and  is  treated  from  a  dramatic,  rather 
than  a  philosophical,  point  of  view.  The  music, 
which  is  a  combination  of  Italian  and  German 
styles,  is  strikingly  powerful  and  original  in 
character. 

The  scene  of  the  Prologue  is  laid  in  the  re- 
gions of  space,  where  Mefistofele  makes  a  wager 
with  the  Deity  that  he  will  gain  a  victory  over 
the  powers  of  Heaven  by  enticing  Faust  to  com- 
mit evil. 

The  first  act  is  in  the  city  of  Frankfort-on- 
the-Main,  where  Faust  and  his  pupil,  Wagner, 
are  seen  amid  the  crowd,  followed  continually 
by  a  Gray  Friar,  who  is  Mefistofele  in  disguise. 
Faust  returns  to  his  laboratory,  still  pursued 
by  the  Friar,  who  conceals  himself  in  an  alcove. 
The  sight  of  Faust  reading  the  Bible  brings 
Mefistofele  out  with  a  shriek,  and  throwing  off 
his  disguise  appears  in  the  dress  of  a  knight, 
and  reveals  his  real  identity.  Faust  promises 
to  serve  him  under  certain  conditions,  and  the 

473 


The  Standard  Operaglass 

compact  being  made  the  demon  spreads  his  cloak 
and  both  disappear  through  the  air. 

The  second  act  discloses  Faust  (under  the 
name  of  Henry)  and  Margaret,  Mefistofele  and 
Martha  strolling  through  a  rustic  garden,  chat- 
ting and  love-making.  The  scene  suddenly 
changes  to  the  heights  of  the  Brocken,  where, 
amid  the  celebration  of  the  Witches'  Sabbath, 
Mefistofeles  discloses  to  Faust  a  vision  of  the 
sorrowful  Margaret,  fettered  in  chains. 

In  the  third  act,  Margaret  is  seen  in  prison, 
lying  upon  a  heap  of  straw,  where  she  has  been 
committed  for  poisoning  her  mother  and  killing 
her  babe.  Mefistofele  and  Faust  appear,  and 
the  latter  urges  Margaret  to  escape  with  him, 
but  Mefistofele  recalls  to  her  the  reality  of  her 
situation,  and  she  shrinks  away  from  her  lover 
and  falls  dying.  The  voices  of  angels  are  soon 
heard  in  the  distance,  announcing  that  her  soul 
has  been  received  in  Heaven. 

In  the  fourth  act,  Mefistofele  takes  Faust  to 
the  beautiful  banks  of  the  Peneus,  in  the  vale 
of  Tempe,  during  the  night  of  the  classic  Sab- 
bath. Faust  pays  court  to  Helen  of  Troy,  and 
pledging  their  love  and  devotion,  they  wander 
in  ecstasy  amid  the  beauties  of  their  surround- 
ings. 

In  the  Epilogue  which  follows,  the  aged 
Faust  is  seen  in  his  laboratory  mourning  over 
his  past  life  and  praying  for  a  happier  one  to 

474 


I  Puritani 

come.  Mefistofele,  fearing  to  lose  him,  urges 
him  to  fly  once  more,  but  he  resists  the  tempta- 
tion. As  a  last  resort,  Mefistofele  summons 
a  vision  of  beautiful  sirens,  and  Faust,  though 
sorely  tempted,  again  resists  the  demon  by  turn- 
ing to  his  Bible  and  praying  for  help. 

His  prayer  is  answered,  and,  as  he  dies,  the 
celestial  choir  announces  his  salvation. 


I    PUEITANI 

Grand  Opera  in  three  acts  by  VINCENZO  BELLINI 
Text  by  COUNT  PEPOLI 

The  libretto  of  this,  the  last  work  of  Bellini, 
is  the  poorest  of  all  his  operas,  yet  the  score  con- 
tains some  of  his  most  finished  and  fascinating 
melodies.  It  was  first  presented  at  the  Theatre 
Italian,  Paris,  in  1835. 

The  scene  is  laid  in  England  during  the 
reign  of  Charles  II,  and  the  principal  incidents 
take  place  in  a  fortress  near  Plymouth,  held 
by  the  parliamentary  forces,  under  command  of 
Lord  Walton,  a  Puritan  general. 

Elvira,  daughter  of  Lord  Walton,  is  in  love 
with  Lord  Arthur  Talbot,  a  partisan  knight 
of  the  Stuarts,  but  her  hand  has  been  promised 
to  Sir  Richard  Forth,  a  Puritan  colonel.  Her 
uncle,  Sir  George  Walton,  at  last  gains  the  con- 

475 


The  Standard  Operaglass 

sent  of  her  father  to  her  marriage  with  Lord 
Arthur,  who  therefore  is  admitted  to  the  fort- 
ress in  order  to  celebrate  the  nuptials. 

Henrietta  of  France,  widow  of  Charles  I,  is  a 
prisoner  in  the  fortress,  and  has  been  con- 
demned to  death  by  Cromwell.  She  discloses  her 
identity  to  Arthur  who,  in  order  to  assist  his 
Queen  to  escape,  conceals  her  in  Elvira's  wed- 
ding veil.  Just  as  they  are  making  their  escape 
they  are  met  by  Arthur's  rival,  Sir  Eichard,  but 
on  discovering  that  the  lady  is  Henrietta  and 
not  Elvira,  he  allows  them  to  pass.  Elvira  and 
the  soldiers  discover  the  fleeing  couple  as  they 
are  passing  the  drawbridge,  and  she,  thinking 
that  her  lover  has  eloped  with  Henrietta,  loses 
her  reason.  Arthur  is  condemned  to  death  by 
the  Parliament,  and  a  large  reward  is  offered  for 
his  capture.  Sir  George  and  Sir  Eichard  realize 
that  if  Elvira  is  to  be  restored  to  reason  Arthur 
must  be  saved,  so  they  agree  to  use  their  in- 
fluence in  his  behalf,  providing  that  he  is  cap- 
tured without  arms. 

In  spite  of  the  vigilant  watch,  Arthur  suc- 
ceeds in  getting  access  to  his  beloved,  and  the 
sudden  joy  of  seeing  him,  and  hearing  that  he 
still  loves  her,  restores  her  to  reason.  Their 
interview  is  interrupted  by  the  entrance  of  sol- 
diers, who  arrest  him  in  the  name  of  the  Par- 
liament, and  are  about  to  condemn  him  to  death 
when  the  order  comes  from  Cromwell  to  pardon 

476 


Semiramide 

all  captives  and  political  offenders,  as  the  King 
has  been  defeated  and  the  peace  of  England  re- 
established.   Thus  the  lovers  are  happily  united. 


SEMIRAMIDE 
Lyric  Tragedy  in  two  acts  by  GIOACHINI  ROSSINI 

Text  by  GAETANO  ROSSI 

This  is  one  of  the  best  of  the  fifty  operas 
written  by  Rossini.  The  subject  is  taken  from 
Voltaire's  "Serniramis."  It  was  first  presented 
in  Venice  in  1823.  The  music  is  stirring  in 
its  passion,  and  has  throughout  the  smoothness 
and  richness  of  melody  which  characterizes  the 
work  of  its  versatile  composer. 

The  scene  is  laid  in  Babylon.  In  the  first 
act,  Ninus,  the  King,  is  murdered  by  his  Queen, 
Serniramis,  who  is  assisted  in  her  evil  design 
by  her  lover  Assur,  an  aspirant  to  the  throne. 
Serniramis  had  given  over  her  son,  Ninia,  at  an 
early  age,  to  the  priest  Oroe,  who  had  brought 
him  up  to  believe  that  he  was  of  Scythian 
origin.  Xinia  enters  the  service  of  the  Queen 
under  the  name  of  Arsaces,  and  soon  becomes  a 
renowned  warrior. 

On  returning  victorious  from  the  wars,  he  is 
loaded  with  honors  by  Serniramis,  who,  totally 
ignorant  of  his  parentage,  falls  in  love  with  him 
and  openly  avowing  her  passion,  asks  him  to 

477 


The  Standard   Operaglass 

marry  her.  Arsaces  refuses,  as  he  is  already  in 
love  with  the  royal  princess  Azema. 

During  a  gathering  of  the  Babylonians  in 
the  temple,  while  Semiramis  is  announcing  to 
her  people  her  choice  for  their  future  King,  the 
gates  of  Ninus'  tomb  suddenly  open,  and  his 
ghost  appears  in  their  midst,  predicting  that 
Arsaces  will  be  his  successor  to  the  throne,  and 
commanding  him  to  avenge  his  death  upon  the 
enemy  who  shall  visit  the  tomb  that  night.  In 
the  meantime  the  Priest  Oroe  has  revealed  to 
Arsaces  the  true  circumstances .  of  his  birth, 
whereupon  he  informs  his  mother  of  his  parent- 
age. The  repentant  Queen  declares  that  he  shall 
be  the  successor  to  the  crown,  and  warns  him 
against  the  aspiring  and  evil  Assur. 

At  midnight  Arsaces  descends  to  the  tomb  of 
his  father,  and  is  followed  by  Assur,  who  has 
deliberately  planned  to  murder  him.  Semi- 
ramis, fearful  for  the  life  of  her  son,  follows 
Assur  into  the  tomb,  and  Arsaces,  who  is  lying 
in  wait  for  him,  hears  the  footsteps  of  his 
mother  approaching,  and,  thinking  her  to  be 
Assur,  stabs  her.  She  dies  in  his  arms,  and 
Assur,  being  imprisoned,  all  obstacles  are  re- 
moved, and  Arsaces,  after  marrying  Azema,  is 
proclaimed  King  of  Babylon. 


478 


La  Tosca 


LA    TOSCA 

Melodrama  in  three  acts  by  GIACOMO  PUCCINI 

Text  by  SARDOU,  ILLICA  and  GIACOSA 

La  Tosca  was  first  presented  at  Covent  Gar- 
den, London,  in  1900,  and  though  it  was  a  gor- 
geous production  it  was  not  as  well  received 
as  La  Boheme.  The  libretto,  which  is  taken 
from  Sardou's  tragedy,  is  not  one  adapted  to 
operatic  treatment.  It  is  cleverly  orchestrated, 
however,  and  the  intensely  dramatic  action 
is  handled  with  considerable  skill.  The  music 
is  strong  in  effect,  and  original  and  vivacious 
in  style. 

The  scene  is  laid  in  Eome  in  the  year  1800, 
and  the  first  act  presents  the  interior  of  the 
Church  of  Sant'  Andrea.  Angelotti,  an  im- 
prisoned consul  of  the  Roman  Eepublic,  makes 
his  escape  with  the  assistance  of  his  sister,  and 
appears  in  the  church  in  prison  garb,  hunting 
for  the  key  which  she  has  hidden  there  for  him. 
Just  as  he  is  about  to  make  his  escape,  he  hears 
footsteps  approaching,  and  hastily  conceals  him- 
self as  Cavaradossi,  an  artist,  enters  the  church 
and  proceeds  to  paint  a  portrait  of  the  Madonna. 
Cavaradossi,  hearing  a  noise  behind  him,  inves- 
tigates, and  discovers  Angelotti,  who  proves  to 
be  an  old  friend  of  his.  He  promises  to  help 
him  escape,  but  is  interrupted  by  the  entrance 

*79 


The  Standard  Operaglass 

of  Tosca,  a  celebrated  songstress,  who  is  madly 
in  love  with  him.  Hearing  whispers  she  be- 
comes suspicious,  believing  that  Cavaradossi 
has  played  her  false,  but,  after  much  persuasion, 
is  finally  induced  to  withdraw.  Cavaradossi 
is  then  about  to  conduct  his  friend  to  his  own 
villa,  when  the  booming  of  cannon  is  heard, 
announcing  the  escape  of  the  prisoner.  They 
hurry  out  just  as  Scarpia,  the  chief  of  police, 
enters  the  church  in  search  of  Angelotti.  Tosca 
returns  hoping  to  see  her  artist  lover,  and  the 
wily  Scarpia,  who  is  jealous  of  Cavaradossi  and 
himself  in  love  with  Tosca,  makes  her  believe 
that  her  lover  has  fled  with  another  woman,  by 
showing  her  a  fan  which  has  been  left  behind 
by  the  sister  of  Angelotti. 

The  second  act  presents  the  apartments  of 
Scarpia  in  Farnese  Palace.  Cavaradossi  who 
has  been  captured  in  his  villa,  is  brought  before 
the  Chief  of  Police,  and,  on  being  commanded 
to  reveal  the  hiding  place  of  Angelotti,  denies 
all  knowledge  of  the  whereabouts  of  the  fugi- 
tive. Scarpia,  therefore,  devises  a  fiendish  plan 
to  discover  his  secret.  He  orders  Tosca  to  be 
brought  before  him,  and  she,  having  learned 
that  it  was  the  prisoner  and  not  a  rival  that 
Cavaradossi  had  fled  with,  throws  herself  into 
his  arms  at  finding  him  safe  and  unharmed. 
Scarpia,  enraged  and  jealous,  orders  Cavara- 
dossi to  be  taken  to  the  torture  chamber,  and 

480 


La  Tosca 

the  distracted  Tosca,  hearing  his  groans  of  pain, 
is  at  last  persuaded  to  reveal  the  hiding  place 
of  Angelotti.  Cavaradossi  is  then  brought  in, 
bleeding  and  unconscious,  and  Scarpia  gives  the 
order  for  his  execution. 

Tosca  beseeches  him  not  to  fulfil  the  order, 
and  he  promises  to  save  her  lover  if  she  will 
grant  him  her  favor.  After  vain  prayer,  she 
consents  to  his  wish,  under  the  condition  that 
he  will  write  out  a  passport  to  enable  Cavara- 
dossi and  herself  to  leave  the  country  in  safety. 
Scarpia  consents  to  her  plan,  but  gives  a  secret 
order  for  Cavaradossi  to  be  hung  at  sundown. 
He  then  proceeds  to  write  out  the  passport,  and 
while  doing  so  Tosca  steals  up  from  the  rear 
and  stabs  him  in  the  back,  making  good  her 
escape. 

The  third  act  presents  a  cell  in  the  Castle 
Sant  Angelo,  where  Cavaradossi  is  imprisoned, 
awaiting  his  sentence.  Tosca  rushes  in  with  the 
passport,  and,  after  explaining  how  she  killed 
Scarpia,  tells  him  that  the  soldiers  are  to  pre- 
tend to  shoot  him,  and  that  he  must  fall  as  if 
really  shot,  after  which  she  will  take  him  se- 
cretly away  in  her  carriage.  He  is  placed 
against  the  wall,  and  after  a  volley  of  shots 
from  the  soldiers,  falls  as  directed  by  Tosca. 
After  the  guard  has  disappeared  she  hurries  to 
his  side,  only  to  find  his  body  riddled  with  bul- 
lets.    In  an  agony  of  grief  she  throws  herself 

401 


The  Standard  Operaglass 

on  his  dead  body.  The  soldiers  entering  at  this 
moment  accuse  her  of  the  murder  of  Scarpia, 
but  she,  eluding  their  efforts  to  seize  her,  leaps 
upon  the  parapet  of  the  terrace,  and  throws  her- 
self into  space,  before  the  horror-stricken  sol- 
diers are  aware  of  her  intention. 


& 


Die  Fledermaus 

DIE    FLEDERMAUS 
(THE    BAT) 
Comic  Opera  by  JOHANN  STRAUSS 

The  delightful  music  of  Johann  Strauss's 
comic  opera  has  always  been  welcome  to  the 
music  lovers  of  Germany,  where  "  Die  Fleder- 
maus "  is  a  regular  piece  in  opera  houses.  In 
this  country  and  in  England,  however,  it  has 
been  only  within  the  past  three  years  that  peo- 
ple have  had  many  opportunities  to  hear  it.  In 
England,  indeed,  it  has  never  been  given  as 
Grand  Opera.  In  Xew  York  its  enthusiastic 
reception  has  assured  it  a  place  in  every  season's 
programme.  It  was  first  performed  in  Vienna 
in  1874. 

The  plot  of  the  libretto,  written  by  Meilhac 
and  Halevy,  is  rather  a  complicated  one,  ow- 
ing to  the  many  situations  in  which  the  leading 
characters  are  placed.  The  pivot,  so  to  speak, 
on  which  the  whole  plot  revolves  is  Eisenstein, 
a  banker,  who,  when  the  curtain  rises,  is  about 
to  go  to  prison  for  five  days  for  an  indiscretion 
which  his  quick  temper  made  him  commit. 
Eisenstein's  friend,  Dr.  Falke,  a  notary,  in- 
vites the  banker  to  a  supper  to  be  given  by 
Prince  Orlofsky,  a  young  and  rich  Eussian,  to 
the  members  of  the  Ballet  and  Dramatic  corps. 

483 


The  Standard   Operaglass 

He  does  this  in  order  to  pay  back  Eisenstein 
for  a  practical  joke  the  latter  once  played  on 
him.  Eisenstein  accepts  the  invitation,  telling 
his  wife  that  he  is  going  to  deliver  himself  up 
to  justice  to  serve  his  sentence. 

The  first  act  opens  with  a  serenade  sung  by 
Alfred,  a  rather  persistent  lover  of  Eosalind 
Eisenstein,  which  is  listened  to  by  Adele,  Mrs. 
Eisenstein's  maid,  but  which  is  really  intended 
for  her  mistress.  Adele  has  just  received  an 
invitation  from  her  sister  Ida,  a  member  of  the 
ballet,  to  go  to  a  splendid  party  to  be  given  by 
a  Eussian  prince,  and  is  most  anxious  to  be 
present.  When  Mrs.  Eisenstein  comes  in  Adele 
begs  for  leave  of  absence  for  the  evening  in 
order  to  see  her  aunt,  who,  she  says,  is  very  ill. 
The  leave  is  refused,  and  Adele  goes  off  the 
stage  in  a  sulky  dudgeon.  Rosalind,  left  alone, 
is  suddenly  met  by  her  lover,  Alfred,  who 
comes  in  through  the  window.  Her  weakness 
for  tenors  causes  her  to  promise  to  permit  him 
to  return  later  when  her  husband  is  gone. 
Eisenstein  comes  in  with  Dr.  Blind,  his  lawyer, 
who  has  conducted  the  case  badly,  and  now  re- 
ceives Eisenstein's  upbraidings.  Blind  is  turned 
out  in  anger,  and  Eosalind  tries  to  comfort  her 
husband  by  promising  him  a  good  supper. 
Ealke  comes  in  and  invites  Eisenstein  to  the 
Prince's  supper  party,  and,  before  Eosalind  re- 


Die  Fledermaus 

turns,  he  has  joyfully  accepted  Falke's  invita- 
tion. He  declines  his  wife's  supper  and  tells 
her  he  must  go  to  prison  at  once.  He  dresses 
himself  in  his  evening  clothes,  takes  a  tender 
farewell  of  his  wife,  and  leaves  with  Falke. 
Adele  then  comes  in,  and  Rosalind,  in  order  to 
have  her  out  of  the  way  for  her  reception  of 
Alfred,  gives  her  permission  to  go  to  see  her 
sick  aunt.  Adele  goes  out  in  high  glee,  to  make 
room  for  Alfred's  reappearance.  The  tenor 
prepares  to  make  himself  at  home  by  going  into 
Eisenstein's  room  and  coming  back  in  the 
banker's  dressing-gown.  The  supper  prepared 
for  Eisenstein  by  his  wife  is  now  partaken  of  by 
Alfred,  much  to  the  chagrin  and  vexation  of 
Rosalind,  who  only  wants  to  hear  the  tenor  sing. 
Alfred,  however,  finds  the  place  so  comfortable 
that  he  partakes  freely  of  wine,  becomes  some- 
what hilarious,  and  is  ready  to  remain  all  night. 
Rosalind,  in  distress,  knows  not  what  to  do. 
Just  then  a  ring  is  heard  at  the  door,  and 
Franke,  the  governor  of  the  prison,  appears. 
He  is  come  to  take  Eisenstein  to  prison.  Rosa- 
lind, terrified  to  be  found  in  so  compromising 
a  position  with  the  tenor,  introduces  Alfred  to 
the  governor  as  her  husband,  and  Alfred,  in 
good  humor,  allows  himself  to  be  carried  off  to 
gaol  in  Eisenstein's  place.  The  curtain  goes 
down  here  on  the  first  act. 

485 


The  Standard  Operaglass 

The  second  act  represents  the  garden  of  a 
cafe,  where  Prince  Orlofsky  is  giving  the  ban- 
quet. Adele  enters,  attired  in  her  mistress's 
best  dress,  and  looking  smart  and  roguish, 
Eisenstein  recognizes  her  at  once,  and  begins  to 
make  love  to  her.  She  pretends  to  be  very 
angry  with  him  for  mistaking  her  for  his  wife's 
maid  and  flirtingly  repulses  his  advances. 
Prince  Orlofsky  now  comes  in  and  tells  Eisen- 
stein that  Dr.  Falke  has  promised  him  much 
fun  in  a  practical  joke  he  intends  to  play  on 
the  banker.  Eisenstein,  not  knowing  what  is 
about  to  happen,  is  rendered  very  uncomfort- 
able. Falke,  in  the  meantime,  has  sent  for 
Eosalind,  who  just  then  enters  unrecognized  be- 
cause of  her  mask.  Falke  introduces  her  as  a 
Hungarian  Countess  who,  because  of  her  rank, 
desires  to  remain  unknown.  Rosalind  quickly 
finds  her  husband  flirting  with  Adele  and  de- 
termines to  punish  him,  not  only  for  making 
love  to  her  maid,  but  for  deceiving  her  by  say- 
ing he  was  going  to  prison.  Eisenstein,  on  his 
part,  is  much  attracted  by  the  magnificence  of 
the  dress  and  charming  figure  of  the  supposed 
Countess,  and  transfers  his  attentions  to  her. 
He  makes  such  violent  love  to  her  that  he  even 
counts  her  heart-beats  with  the  aid  of  a  watch 
which  he  promises  to  give  her.  He  irritates 
Rosalind  by  withholding  the  present,  but  she 

4S6 


Die  Fledermaus 

manages  to  get  possession  of  it  and  slips  away 
before  he  can  recover  it  from  her.  The  entire 
party  now  sit  down  to  supper,  and  Eisenstein, 
partaking  rather  freely  of  wine,  tells  the  com- 
pany the  practical  joke  he  once  played  on  his 
friend  Falke.  He  once  attended  with  his  friend 
a  masquerade  ball  to  which  Falke  had  gone  in 
the  costume  of  a  bat.  He  had  made  his  friend 
drink  more  than  was  good  for  him,  so  that 
Falke  had  gone  to  sleep  in  the  street,  where 
Eisenstein  had  left  him  all  night.  When  Falke 
woke  up  in  the  morning  he  found  himself  sur- 
rounded by  a  great  crowd  of  jeering  people,  who 
had  nicknamed  him  "Die  Fledermaus."  The 
story  Eisenstein  told  with  great  glee  is  re- 
ceived by  the  company  with  much  laughter. 
Falke,  however,  only  smiles,  and  says  simply 
that  he  laughs  best  who  laughs  last.  Dancing 
follows  the  supper,  and  when  the  clock  strikes 
six  Eisenstein  remembers  he  ought  to  be  in 
prison.  He  therefore  takes  leave  of  the  com, 
pany  and  goes  out  with  Franke,  the  govermt 
of  the  prison,  who  was  present  at  the  banqnU 
as  the  Chevalier  Chagrin,  but  who  is  not  known 
to  Eisenstein  as  the  prison  governor. 

The  curtain  rises  on  the  third  act,  showing 
the  prison-governor's  office.  Franke  returns 
and  is  received  by  his  jailor,  Frosch,  who  has 
taken  advantage  of  his  master's  absence  to  get 

487 


The  Standard  Operaglass 

thoroughly  drunk.    Frosch's  play  as  a  drunken 
man  trying  to  find  his  lamp  is  highly  amusing. 
Franke,  musing  over  the  night's  entertainment, 
becomes  drowsy  and  falls  asleep.    He  is  awak- 
ened, however,  by  the  entrance  of  Adele  and  her 
sister  Ida,  who  have  come  from  the  party  to  ask 
the  supposed  Chevalier  to  intercede  for  Adele 
with  his  friend  Eisenstein.     Adele  confesses  to 
him  that  she  is  not  what  she  pretends  to  be,  be- 
ing only  a  lady's  maid,  but  that  she  has  talents 
for  the  stage.    She  proceeds  to  show  by  demon- 
stration how  well  she  can  dance.     She  is  in- 
terrupted by  a  ring  at  the  door,  and  Franke,  to 
get   the  two  women   out   of   the   way,   orders 
Frosch  to  put  them  into  a  cell  to  wait  until  his 
visitors  have  gone.     Frosch  conducts  them  to 
cell  number  13,  next  to  the  one  in  which  the 
supposed  Eisenstein  is  confined.     The  ring  at 
the  door  came  from  Eisenstein,  who  now  enters 
to  give  himself  up.     He  recognizes  in  Franke 
the  Chevalier  Chagrin  he  had  met  at  Orlofsky's 
party,  and  each  is  surprised  to  meet  the  other 
in  this  place.     Dr.  Blind  now  enters  to  shield 
the   supposed   Eisenstein   and  meets   the   real 
Eisenstein,  who  again  hustles  him  out  and,  pos- 
sessing himself  of  Blind's  cap,  coat,  and  spec- 
tacles, returns  to  interview  the  man  who  has 
been  locked  up  in  his  stead.    As  Alfred  is  being 
brought  from  his  cell  Rosalind  enters  ready  to 

488 


Die  Fledermaus 

revenge  herself  on  her  husband.  She  has  her 
husband's  watch  with  her.  Seeing  Alfred,  she 
and  he  begin  to  vent  their  grievances  to  the  dis- 
guised Eisenstein,  who,  when  he  learns  of  Al- 
fred's visit  to  his  wife  at  his  house,  becomes 
greatly  enraged.  Throwing  off  his  disguise,  he 
reveals  himself  as  Rosalind's  husband  and  turns 
on  her  in  righteous  anger.  She,  on  her  part, 
scorns  him  for  his  treachery  and  deception. 
The  mutual  recriminations  between  husband 
and  wife  are  interrupted  by  the  entrance  of  Dr. 
Falke,  accompanied  by  all  those  who  were  pres- 
ent at  Prince  Orlofsky's  banquet.  Falke  clears 
up  the  misunderstanding  and  explains  that  the 
whole  affair  is  a  stupendous  practical  joke  on 
his  part,  played  on  Eisenstein  by  way  of  re- 
venge for  the  joke  Eisenstein  had  played  on 
him.  The  prince  had  been  aware  of  his  inten- 
tion and  had  entered  into  the  spirit  of  the  joke. 
Eisenstein,  seeing  the  turn  matters  have  taken, 
and,  convinced  of  his  wife's  innocence,  embraces 
Rosalind,  and  all  toast  each  other  in  champagne. 


489 


The  Standard  Operaglass 


THE    TALES    OF    HOFFMANN" 

A  fantastic  Opera  in  three  acts  by 

JACQUES   OFFENBACH 

Of  the  many  operas  by  the  brilliant  Jacques 
Offenbach  this  of  "  Hoffmann's  Tales "  is  ac- 
knowledged to  be  the  masterpiece.  Offenbach 
composed  it  during  the  summer  of  1880,  and 
became  seriously  ill  before  he  had  finally  re- 
vised and  orchestrated  it.  He  himself  felt  it 
was  the  finest  work  he  had  done,  and  was  most 
anxious  to  be  present  at  its  performance.  But 
he  was  destined  not  to  have  his  wish  fulfilled. 
In  October  of  1880  Offenbach  was  dead,  and 
the  opera  could  not  be  got  ready  before  the 
February  of  1881,  when  it  was  given  for  the 
first  time  at  the  Opera  Comique  in  Paris.  The 
best  judges  of  music  consider  this  posthumous 
opera  the  work  of  a  genius. 

It  is  charming  in  its  grace  and  is  filled  with 
true  poetic  feeling.  It  is  remarkable  in  its 
realization  of  the  fantastic  imagination  of  the 
tales  themselves. 

The  libretto,  written  in  French  by  Jules  Bar- 
bier,  is  founded  on  three  tales  by  that  poetically 
gifted  and  highly  imaginative  writer,  E.  Th.  A. 
Hoffmann,  whose  "  Tales  "  are  classics  in  Ger- 
many. 

490 


The  Tales  of  Hoffmann 

The  first  act  is  really  a  prologue  to  the  opera. 
Its  scene  is  laid  in  Luther's  famous  wine  cellar 
in  Nuremberg.  When,  the  curtain  rises  on  the 
interior  of  the  German  inn  a  chorus  of  students 
praises  the  master  of  the  tavern.  Hoffmann, 
the  hero  of  the  opera,  is  also  there  drinking  and 
carousing  with  the  rest,  but  seemingly  despon- 
dent and  morose.  He  is  asked  by  the  students 
to  sing  them  a  song,  and  he  begins  to  sing  the 
weird  ballad  of  "  Klein-Zach,"  but  instead  of 
finishing  the  ballad  he  wanders  off  into  a  chant 
of  praise  for  a  beautiful  woman.  His  comrades 
chaff  him  and  tell  him  he  is  in  love.  He  as- 
sures them  that  he  has  left  love  and  such  mat- 
ters behind  him.  He  is  depressed  because  of 
his  past  unfortunate  experiences  and  promises 
to  tell  them  of  his  three  love  adventures  which 
brought  him  to  his  present  state  of  mind.  The 
rest  of  the  opera,  with  the  exception  of  the 
Epilogue,  is  devoted  to  the  enactment  of  the 
three  adventures,  and  the  first  act  begins  with 
that  of  the  first,  the  one  relating  to  Olympia. 

In  the  first  act  the  curtain  rises  and  reveals 
the  house  of  Spalanzani,  the  famous  scientist. 
Hoffmann  is  in  the  house  ostensibly  as  a  pupil 
of  the  physiologist,  but  in  reality  to  become  ac- 
quainted with  his  beautiful  daughter  Olympia, 
whom  he  had  only  seen  at  a  distance  through  a 
window.   Olympia  is  not  Spalanzani's  daughter, 

491 


The  Standard  Operaglass 

but  an  automaton  made  by  the  scientist  and  his 
friend  Coppelias.     She  is  a  doll  that  can  sing, 
dance,  and  talk  like  a  human  being.     It  does 
this  so  successfully  that  the  professor  buys  it 
from  Coppelias  in  order  to  enrich  himself  by 
means  of  it.     He  pays  his  friend  for  it  with  a 
draft  on  a  Jew,  Elias  by  name,  who,  Spalanzani 
knows,  will  not  meet  the  draft  because  he  is  a 
bankrupt.     Coppelias  has  persuaded  Hoffmann 
to  buy  a  pair  of  spectacles  through  which  to 
look  at  Olympia,  and  seeing  her  thus  Hoffmann 
takes  her  for  a  beautiful  living  woman,  and 
falls  passionately  in  love  with  her.    When  left 
alone  with  her  Hoffmann  tells  her  of  his  pas- 
sion, and  in  his  ardor  believes  she  returns  his 
love,  though  she  only  answers  him  with  "  Ja, 
Ja."     He  tries  to  embrace  her,  but  she  trips 
away  immediately  he  touches  her.     His  friend 
Nickias,  who  knows  of  the  truth  of  Olympia, 
tries  to  enlighten  him,  but  Hoffmann  is  too  ex- 
alted by  love  to  understand  or  even  to  listen  to 
him.     At  the  entertainment  which  Spalanzani 
gives,  Hoffmann  engages  Olympia  in  a  dance, 
and  the  two  dance  on,  faster  and  faster,  until 
Hoffmann  sinks  to  the  floor  in  a  swoon.    In  his 
fall  the  spectacles  he  is  wearing  are  broken. 
Olympia,  however,  still  keeps  on  dancing  by 
herself,  faster  and  faster,  until  she  dances  out 
of  the  room  in  spite  of  an  attempt  of  Cochenille 

492 


The  Tales  of  Hoffmann 

to  stop  her.    Dr.  Coppelias  now  enters  in  a  rage 
with  Spalanzani,  having  found  that  his  draft 
had  been  dishonored  and  was  worthless.     He 
rushes  into  the  room  into  which  Olympia  has 
disappeared.   When  Hoffmann  recovers  from  his 
swoon  he  hears  a  tremendous  noise  as  of  break- 
ing and  smashing,  and  is  amazed  at  Spalanzani 
bursting  upon  him  with  cries  that   Coppelias 
had  destroyed  his  priceless  automaton.     It  is 
then  that  Hoffmann  learns  that  he  has  been  in 
love  with  a  mere  doll.     The  guests,  entering, 
confuse  the  poor  fellow  with  shouts  of  laughter, 
the  while  Spalanzani  and  Coppelias  are  quarrel- 
ing and  abusing  each  other.     Thus  ends  Hoff- 
mann's first  love  adventure. 

The  second  deals  with  Giulietta,  and  the  sec- 
ond act  shows  us  her  palace  in  Venice.    She  is 
in  love  with  Schlemihl,  but  she  nevertheless  re- 
ceives Hoffmann  graciously,  much  to  the  dis- 
gust of  Schlemihl.    Nickias,  Hoffmann's  friend, 
who  is  also  courting  the  beautiful  lady,  warns 
him  against  her  and  thinks  she  is  no  better  than 
she  ought  to  be.     Hoffmann  laughs  at  Nickias 
and  ridicules  the  suggestion  that  he  would  be 
likely  to  make  love  to  a  courtesan.    Giulietta  is 
really  a  creature  of  the  magician  Dapertutto, 
who  is  in  truth  the  evil  spirit  maleficent  to- 
wards   Hoffmann    in    all    the    three    adven- 
tures.    Giulietta  it  is  who  for  him  has  stolen 

493 


The  Standard  Operaglass 

Schlemihl's  shadow,  and  he  now  bribes  her  with 
a  magic  diamond  to  enslave  Hoffmann  so  that 
she  might  get  from  him  his  reflection  in  a  look- 
ing glass,  as  she  got  Schlemihl's  shadow.  Da- 
pertutto  plays  on  her  wounded  vanity  by  telling 
her  that  Hoffmann  has  spoken  disdainfully  of 
her.  Hoffmann  is  soon  brought  to  her  feet,  and 
in  a  beautiful  love-duet  in  which  she  succeeds 
by  her  wiles,  they  are  surprised  by  the  jealous 
Schlemihl.  Giulietta  promises  Hoffmann  the 
key  of  her  room  if  he  can  get  it  from  Schlemihl, 
her  former  lover.  Hoffmann  is  then  left  alone 
with  Schlemihl  and  Dapertutto,  and  demands 
the  key  of  the  former.  When  his  demand  is  re- 
fused a  duel  follows,  for  which  Dapertutto  sup- 
plies Hoffmann  with  his  own  sword.  Schlemihl 
is  killed  after  a  few  passes,  and  Dapertutto  dis- 
appears. A  moment  later  Giulietta's  gondola  is 
seen  by  him  passing  before  the  balcony,  and  he 
finds  her  leaning  on  Dapertutto's  arm,  singing 
a  mocking  farewell  to  him.  Thus  ends  Hoff- 
mann's second  love  adventure. 

The  third  adventure  deals  with  Antonia.  The 
curtain  of  the  third  act  rises  on  a  room  in  Eath 
Krespel's  house  in  Munich.  Krespel's  daughter 
Antonia  is  gifted,  like  her  mother,  with  a  re- 
markably beautiful  voice,  but,  like  her  mother, 
also,  she  is  afflicted  with  the  deadly  disease  of 
consumption.     Although  singing  gives  her  the 

494 


The  Tales  of   Hoffmann 

greatest  happiness,  her  father  had  forbidden  her 
tasking  her  strength  in  this  way  because  he 
knows  it  will  be  fatal  for  her.     She  is  engaged 
to  be  married  to  Hoffmann,  but  Krespel  does 
not  encourage  the  alliance.     He  fears  for  his 
daughter's  life,  because  he  knows  Hoffmann  to 
be  very  fond  of  music  and  would  delight  in 
hearing  Antonia  sing.     He  keeps  his  daughter 
confined  in  the  house  and  has  given  his  servant, 
Franz,  strict  injunctions  not  to  permit  anybody 
to  see  Antonia  when  he  is  away  from  home. 
Franz,  however,  is  quite  deaf,  and,  misunder- 
standing   Krespel's    orders,    eagerly    welcomes 
Hoffmann  when  he  comes  to  visit  Antonia.    In 
a  charming  love  scene  between  Hoffmann  and 
Antonia  the  girl  proves  to  her  lover  that  her 
voice  has  in  no  way  lost  its  beauty.     They  re- 
frain  from   further   love   making   when    they 
hear  Krespel  returning.    Antonia,  to  avoid  her 
father,  retires  to  her  own  room,  and  Hoffmann, 
anxious  to  know  why  Krespel  keeps  his  daughter 
so  confined,  hides  himself  in  an  alcove.    Kres- 
pel comes  in  and  is  followed  immediately  by  Dr. 
Mirakel.     Mirakel  is  the  evil  genius  of  Hoff- 
mann.    He  is  the  Coppelias  of  the  first  adven- 
ture and  the  Dapertutto  of  the  second.    Krespel 
is  terribly  afraid  of  this  man,  because  he  be- 
lieves it  was  he  who  killed  his  wife,  and  because 
he  fears  he  has  now  designs  to  kill  his  daughter. 

495 


The  Standard   Operaglass 

As  Hoffmann  listens  to  the  talk  between  Kres- 
pel  and  Mirakel  he  learns  the  secret  of  An- 
tonia's  affliction  and  why  it  is  that  she  is  so 
carefully  guarded  by  her  father.  When  Mirakel 
has  finally  been  sent  out  and  Krespel  has  also 
left,  the  two  lovers  meet  again.  Hoffmann  now 
earnestly  begs  Antonia  never  to  sing  again. 
After  much  entreaty,  she  finally  gives  him  her 
promise  not  to  sing  again.  When  Hoffmann, 
however,  leaves,  Mirakel  returns  and  goads  her 
on  to  break  her  promise.  He  invokes  the  spirit 
of  her  mother  to  assist  him  in  his  arguments, 
so  that  she  is  persuaded  to  sing.  He  urges  her 
on  to  further  effort,  but  the  girl  sinks  back  ex- 
hausted. Krespel  and  Hoffmann,  returning, 
find  her  dying,  and  with  some  short  words  of 
farewell  she  dies  in  her  father's  arms,  Hoff- 
mann a  heart-broken  witness.  Thus  ends  the 
third  and  last  adventure. 

The  Epilogue  takes  us  back  to  Luther's  wine 
cellar  in  Nuremberg,  the  same  scene  in  which 
the  prologue  was  enacted.  His  boon  compan- 
ions cheer  him  their  thanks  for  his  three  tales, 
and  leave  him.  In  their  place  comes  the  Muse 
of  Art  to  offer  Hoffmann  consolation  as  a  balm 
for  his  wounded  heart.  For  a  moment  he  is 
roused  and  his  soul  filled  with  an  ecstatic  joy, 
but  his  drinking  has  been  too  much  for  him. 
He  falls  face  forward  on  the  table  and  goes 

496 


The  Tales  of  Hoffmann 

sound  asleep.  When  Stella  asks  Xicklausse  if 
Hoffmann  is  asleep,  he  answers,  "  No,  dead 
drunk."  As  Stella  takes  Lindorf's  arm  to  leave, 
she  turns  to  look  at  Hoffmann  and  throws  a 
flower  from  her  bouquet  at  his  feet. 


497 


The  Standard  Operaglass 

LA    GIOCONDA 
Grand  Opera  in  four  acts  by  PONCHIELLI 

This  opera,  by  Ponchielli,  for  which  Tobio 
Gorrio  wrote  the  libretto,  was  first  produced  in 
America  at  the  Metropolitan  Opera  House,  New 
York,  on  December  20,  1883.  The  scene  of  the 
play  is  laid  in  Venice  in  the  seventeenth 
century. 

The  first  act,  titled  in  the  story  "  The  Lion's 
Mouth,"  takes  place  in  the  Grand  Courtyard  of 
the  Ducal  Palace.  On  one  side  of  the  court- 
yard is  seen  one  of  the  historical  "  lion's 
mouths,"  in  which  letters  were  dropped  by  any 
person  who  desired  to  inform  the  Inquisition 
as  to  any  plot,  or  conspiracy,  or  person  danger- 
ous to  the  State. 

As  the  curtain  rises  a  chorus,  by  sailors/ 
monks,  and  masquers,  is  sung  in  praise  of  the 
Doge  and  the  Eepublic.  Barnaba,  a  spy  in  the 
employ  of  the  Inquisition,  jeers  in  moody  medi- 
tation at  the  people  singing.  Pointing  to  the 
gratings  of  the  subterranean  prisons,  he  says 
they  are  dancing  on  their  graves.  He  is  longing 
to  make  captive  the  wayward  Gioconda,  a  bal- 
lad singer,  with  whom  he  is  in  love.  Gioconda 
now  enters,  leading  her  blind  mother,  Cieca. 
Barnaba,  seeing  them  coming,  hides  himself  be- 

498 


La  Gioconda 

hind  one  of  the  columns,  and  listens  to  their 
conversation.  Gioconda  tolls  her  mother  that 
she  is  going  to  look  for  Enzo,  a  Genoese  noble, 
and  will  return  with  him.  Cieca  calls  down 
Heaven's  blessings  on  her  footsteps,  and  Gio- 
conda is  about  to  leave  when  Barnaba  steps  for- 
ward and  commands  her  to  remain.  He  loves 
her,  he  says,  and  will  bar  her  way  if  she  return 
not  his  love.  She  repulses  his  advances.  He 
seizes  her  to  prevent  her  running  away,  but  she 
escapes.  Barnaba  is  now  determined  to  revenge 
himself  on  her.  With  that  end  in  view  he  plans 
to  persecute  Cieca,  her  mother,  place  the  blind 
woman  in  a  position  where  she  will  have  no 
means  to  escape,  and  prevail  on  Gioconda  by 
reason  of  his  power  over  the  mother.  Barnaba 
thereupon  tells  Zuane,  the  defeated  contestant 
at  the  regatta,  that  Cieca  practiced  witchcraft 
on  him,  and  because  of  this  he  lost  the  race. 
The  ignorant  boatman  and  his  equally  ignorant 
friends  seize  on  the  excuse  and,  for  a  time,  the 
life  of  Cieca  is  in  grave  danger.  The  people 
cry  to  burn  her,  and  they  are  about  to  carry 
their  suggestions  into  execution  when  Gioconda 
rushes  in  with  Enzo,  who  prevents  the  immedi- 
ate execution  of  the  old  woman.  Alvise,  chief 
of  the  Council  of  Ten,  and  Laura,  his  wife,  now 
enter.  Gioconda  begs  Alvise  to  save  her  moth- 
er's life,  and  Enzo  commands  his  sailors  to  help 

499 


The  Standard  Operaglass 

him  to  protect  her.  Laura,  hearing  Enzo's 
voice,  is  arrested  by  it,  and  looks  at  him  curi- 
ously. She  seems  to  know  him.  Enzo  recog- 
nizes Laura  as  the  woman  who  was  once  be- 
trothed to  him.  Barnaba  does  not  miss  the 
looks  each  is  giving  the  other,  and  feels  that  he 
is  being  foiled.  Alvise  pardons  Cieca,  who, 
when  Laura  approaches  her,  gives  her  a  rosary. 
The  recognition  between  Laura  and  Enzo  is 
now  mutual.  All  leave,  at  the  command  of  Al- 
vise, for  the  church,  except  Enzo,  and  Barnaba, 
who  is  watching  Enzo  closely.  Barnaba  knows 
Enzo  to  be  the  Prince  of  Santa  Fior,  and  sus- 
pecting that  he  loves  Laura,  tells  him  that  Laura 
will  be  on  his  ship  at  nightfall.  Enzo,  filled 
with  delight  at  the  news,  leaves  to  go  on  board 
to  wait  for  her  coming.  Barnaba  has  done  this 
on  purpose  to  get  Enzo  out  of  the  way  of  meet- 
ing Gioconda,  and  to  further  a  new  scheme  of 
villainy  he  has  conceived.  Being  assured  that 
the  unsuspecting  Enzo  will  fall  into  his  trap,  he 
dictates  a  letter  to  Alvise  in  which  he  informs 
the  Chief  of  the  State  Inquisition  that  his  wife 
is  about  to  elope  with  Enzo.  Gioconda,  behind 
a  column,  overhears  Barnaba  dictating  the  let- 
ter. She  is  sunk  in  despair  at  the  perfidy  of 
Enzo.  From  the  church  is  heard  the  vesper 
hymn  sung  by  the  monks  and  people,  and  the 
curtain  falls  as  Gioconda  and  Cieca  leave,  the 

500 


La  Gioconda 

mother   endeavoring   to    comfort   her   broken- 
hearted daughter. 

The  second  act,  entitled  "  The  Rosary,"  takes 
place  on  board  Enzo's  brigantine,  lying  by  the 
deserted  bank  of  an  uninhabited  island  in  the 
Fusina  Lagoon.  The  curtain  rises  discovering 
sailors,  some  seated  on  the  deck,  others  standing 
in  groups.  Remaining  thus,  they  sing  a  ma- 
rinaresca.  Barnaba  enters  with  Isepo,  both  dis- 
guised as  fishermen.  Barnaba  sends  Isepo  to 
summon  three  war  galleys.  Enzo  comes  on  deck 
and  sends  his  sailors  below,  remaining  alone  on 
deck  in  expectation  of  Laura's  arrival.  Laura 
enters,  and  the  two  lovers  determine  to  sail  that 
night.  Enzo  goes  to  make  preparations  for 
their  departure.  Laura  is  alone,  and  Gioconda 
steals  in  and  is  about  to  kill  her,  but  stays  her 
hand  when  she  sees  the  rosary  Laura  is  holding. 
She  recognizes  her  as  the  lady  who  saved  her 
mother's  life.  Gioconda  is  now  determined  to 
save  Laura.  She  lends  her  her  own  mask,  and, 
calling  two  boatmen,  she  places  Laura  in  their 
boat  and  bids  her  leave  before  Alvise  and  Bar- 
naba come  and  find  her  there.  The  war  galleys 
summoned  by  Barnaba  attack  Enzo's  yacht,  but 
Enzo  sets  fire  to  his  ship  as  the  curtain  falls. 

The  third  act,  bearing,  in  the  libretto,  the 
title,  "  The  House  of  Gold,"  takes  place  in  a 
chamber  of  Alvise's  residence.    It  is  the  night 

501 


LIBRARY 

*T  '  --* 

■AN 


-SaaTH 


The  Standard  Operaglass 

after  Laura's  escapade  on  board  Enzo's  yacht. 
Alvise  is  alone,  meditating  on  Laura's  perfidy, 
and  has  determined  to  kill  her.  He  summons 
her  to  him  and  tells  her  that  she  must  drink 
the  phial  of  poison  he  gives  her  before  the  last 
note  of  the  serenade  is  sung  that  some  passing 
gondoliers  are  singing.  He  leaves  Laura  stand- 
ing with  the  poison  in  her  hand,  while  the 
chorus  is  singing  the  serenade.  Gioconda  now 
enters,  bringing  a  flask  containing  a  powerful 
sleeping  draught.  She  persuades  Laura  to 
drink  this  instead  of  the  poison  her  husband 
gave  her.  Then,  pouring  into  the  empty  flask 
the  poison  contained  in  the  phial,  she  departs, 
leaving  the  empty  phial  behind  her.  Alvise  en- 
ters, and,  seeing  the  empty  phial,  is  convinced 
that  Laura  has  done  what  he  commanded  her 
to  do.  "  All  now  is  over,"  he  says.  He  believes 
he  is  revenged. 

The  scene  now  changes  to  a  hall  magnifi- 
cently adorned  for  a  festivity.  Cavaliers,  ladies, 
and  masquers  enter  and  Alvise  greets  them. 
Gioconda  also  enters,  but  her  arrival  is  unper- 
ceived.  A  charming  ballet,  "  The  Dance  of  the 
Hours,"  is  now  executed.  Barnaba  then  enters, 
dragging  Cieca,  whom  he  found  in  one  of  the 
adjoining  rooms.  Cieca  excuses  her  presence 
by  saying  that  she  came  to  pray  for  the  lady 
who  is  just  dead.    The  guests  are  astonished  to 

502 


La  Gioconda 

hear  that  Alvise's  wife  is  no  longer  living. 
Enzo,  who  is  also  present,  masked,  learning  that 
Laura  is  dead,  tears  off  his  mask  and  denounces 
Alvise.  Alvise  orders  him  to  be  seized  by  the 
guards,  and  holds  Barnaba  responsible  if  Enzo 
shall  escape.  Gioconda,  seeing  that  Enzo's  fate 
is  doomed,  begs  Barnaba  to  set  him  free,  prom- 
ising to  become  his  wife  if  he  will  give  Enzo  his 
liberty.  Barnaba  accepts  her  offer.  The  act 
comes  to  a  close  as  Alvise  opens  the  curtain  at 
the  back,  revealing  Laura,  laid  out  on  her  bier. 
He  declares  he  has  killed  her  to  avenge  his 
honor. 

The  fourth  act  takes  place  in  the  vestibule  of 
a  ruined  palace  on  the  island  of  Giudeca.  On 
the  right  of  the  scene  is  a  long  and  dimly 
lighted  street.  At  the  back  is  a  large  porch, 
through  which  can  be  seen  the  Lagoon  and  the 
brilliantly  lighted  square  of  St.  Mark.  Gio- 
conda is  alone,  buried  in  thought.  Two  men 
come  along  the  street,  bearing  the  body  of  a 
woman  between  them.  It  is  Laura  they  are 
bringing.  When  they  knock  at  the  entrance  of 
the  palace,  Gioconda  opens  the  door  and  bids 
them  enter.  They  place  Laura  on  a  bed  behind 
a  screen.  Gioconda  then  pays  them,  and  begs 
them  to  try  and  find  her  mother,  and,  when 
they  do  find  her,  to  bring  her  to  Canreggio, 
where  Gioconda  will  be  waiting,  because  she  is 

5°3 


The  Standard   Operaglass 

soon  to  leave  Giudeca.  Gioconda,  alone  once 
more,  determines  on  suicide,  and  is  tempted  to 
kill  Laura.  While  she  is  hesitating,  Enzo  ar- 
rives. He  is  deeply  grateful  to  her  for  having 
obtained  for  him  his  liberty,  but  is  resolved  to 
end  his  life.  Laura,  now  waking  up  from  the 
effects  of  the  drug  Gioconda  gave  her,  calls  for 
Enzo,  and  comes  from  behind  the  screen.  The 
lovers  meet  in  a  transport  of  joy,  and,  with 
gratitude  to  their  deliverer,  they  leave  the  pal- 
ace and  escape  in  a  boat.  Gioconda  now  realizes 
the  price  she  has  paid  for  her  love.  She  remem- 
bers her  promise  to  Barnaba,  and  resolves  to 
run  away.  She  prays  to  the  Virgin  Mary  to 
deliver  her  from  the  foul  demon,  as  she  calls 
Barnaba.  Barnaba  overhears  her  from  behind 
a  half-open  door  and  confronts  her,  as  she  is 
about  to  leave.  Determined  to  outwit  him,  she 
assumes  a  gay  demeanor  and  tells  him  that  she 
is  going  to  adorn  herself  in  order  to  do  him 
honor.  Barnaba  is  delighted.  As  Gioconda  is 
putting  on  her  jewels  she  manages  to  seize  a 
dagger  and  stabs  herself,  crying,  in  her  death 
throes.  "  Take  me,  I  am  thine !  " 


5°4 


Sappho 

SAPPHO 
Grand  Opera  in  five  acts  by  JULES  MASSENET 

The  opera  of  "  Sappho,"  by  Jules  Massenet, 
has  for  its  plot  the  love-story  of  modern  Paris- 
ian life,  as  told  in  Alplionse  Daudet's  novel  of 
the  same  name.  The  libretto  was  written  in 
French  by  Henri  Cain  and  Bernede. 

The  first  act  takes  place  in  the  drawing-room 
of  the  house  of  the  sculptor  Caoudal,  in  which 
a  masquerade  ball  is  in  progress.  As  the  cur- 
tain rises  the  music  of  a  make-believe  Gypsy 
orchestra  is  heard  playing  loudly  from  the 
studio  leading  off  the  drawing-room.  Caoudal 
and  his  friend,  La  Borderie,  now  enter,  accom- 
panied by  the  guests,  and  all  in  a  merry  humor. 
La  Borderie  complains  of  being  tired  and  tries 
to  get  away.  He  is,  however,  brought  back  in 
triumph  by  the  girls,  who  will  not  let  him 
go.  Jean  Gaussin,  the  hero  of  the  play  and 
a  simple  young  man  from  the  country,  is  also  a 
guest.  He  comes  in  from  the  studio  in  his  de- 
sire to  get  away  from  the  hubbub  and  merry- 
making. Caoudal  jeers  him  for  his  mood  and 
points  out  the  pretty  ladies  to  him.  He  will  not 
be  presented  to  them  for  fear  of  their  ridicule ; 
nor  will  he  go  back  with  them  into  the  studio. 
He  is  left  alone  and  is  about  to  depart,  when  he 

505 


The  Standard  Operaglass 

hears  the  voice  of  Fanny,  the  model,  singing  the 
old  studio  song  in  company  with  the  rest  of  the 
merrymakers.  Jean's  spirit  is  at  variance  with 
his  surroundings ;  he  sighs  for  his  home  where 
the  Ehone  bou"nds  along,  the  land  of  promise 
that  nursed  him.  Fanny  enters  suddenly,  fol- 
lowed by  a  crowd  of  artists,  among  whom  are 
Caoudal  and  La  Borderie.  They  clamor  for  her 
kisses,  but  she  repels  them  laughingly.  They 
surround  her,  but  as  she  tries  to  free  herself  she 
sees  Jean.  Turning  aside  to  Caoudal,  she  asks 
him  who  the  handsome  boy  is,  but  he  answers 
absently.  In  the  meantime  Jean  has  been  gaz- 
ing at  her  as  if  spellbound.  He  falls  in  love 
with  her  at  first  sight,  so  to  speak,  while  she, 
on  her  part,  is  inexplicably  drawn  towards  him. 
She  manages  to  get  him  aside,  and  on  question- 
ing him  discovers,  to  her  joy,  that  he  is  not  an 
artist,  knows  nothing  of  the  life  of  the  Latin 
Quarter,  but  is  just  arrived  fresh  from  the  coun- 
try of  Provence.  She  is  afraid  he  will  find  out 
who  she  is  and  what  the  life  is  that  she  is 
leading.  Anxious  to  retain  his  good  will,  she 
persuades  him  to  slip  away  with  her  quietly, 
as  Caoudal  comes  out  from  the  studio  and  sum- 
mons all  to  supper.  From  the  studio  comes 
cries  of  "  Sappho  !  Sappho  !  "  The  great  cur- 
tain at  the  back  is  drawn  aside  and  the  guests 
.are  #11  disclosed  sitting  at  small  tables  at  sup- 

506 


Sappho 

per.  Caoudal,  who  has  noticed  Fanny  leaving 
with  Jean,  calls  some  friends  to  him,  and  they 
laughingly  exchange  gestures  of  pity  for  the 
young  fellow.  As  the  curtain  falls  some  gypsies 
at  the  back  execute  a  dance. 

The  action  of  the  second  act  takes  place  in 
Jean  Gaussin's  lodgings  in  the  Kue  d' Amster- 
dam, Paris.  Jean  is  discovered  at  his  work  in 
company  with  his  father,  Cesaire.  Jean  is  sing- 
ing while  working.  Passing  from  singing  to 
talk,  we  learn  that  Cesaire  and  Divonne,  his 
wife,  have  come  to  Paris  to  place  Jean  in  some 
position,  and  to  take  home  with  them,  on  their 
return  to  Provence,  Jean's  cousin,  Irene,  the 
companion  of  his  childhood  days.  Divonne  and 
Irene  then  come  in,  the  former  in  a  great  state 
of  excitement  from  seeing  Paris.  Cesaire  and 
Divonne  go  off  to  make  ready  for  their  de- 
parture, and  Jean  and  Irene  indulge  in  senti- 
mental recollections  of  the  happy  days  they 
spent  together  in  the  past.  The  parents  come 
in  and  catch  the  young  people  in  a  lover's  em- 
brace, and  laugh  good-naturedly  at  their  embar- 
rassment. A  touching  scene  follows,  in  which 
the  parents  take  leave  of  Jean  and  finally  de- 
part with  Irene.  Jean  is  left  meditating  sadly 
on  his  loneliness.  He  is  not  alone  long.  Fanny 
enters  without  knocking  and  approaches  him 
quietly.      She   has   waited  until   he   should   be 

507 


The  Standard  Operaglass 

alone,  and  finds  him  in  the  very  mood  for  her 
companionship.  She  examines  the  room  and 
admires  its  pretty  arrangement.  Noticing  a 
statuette  of  Sappho  by  Caoudal  for  which  she 
herself  had  been  the  model,  she  becomes  con- 
fused and  almost  betrays  herself.  Eecovering 
herself,  she  turns  the  conversation  and  hums 
him  a  tune  which  reminds  Jean  of  his  old  coun- 
try life.  Jean,  transported  with  passion,  de- 
clares his  love  for  her  and  they  plight  their 
troth  to  each  other. 

When  the  curtain  goes  up  on  the  third  act,  a 
year  is  supposed  to  have  elapsed.    Jean  is  now 
living  with  Fanny  as  husband  and  wife.    He  is, 
if  anything,  more  in  love  with  her  now  than  he 
was  when  she  came  to  his  lodgings.     Fanny, 
on  her  part,  is  really  in  love  with  him.     She 
is  overjoyed  in  the  belief  that  her  new  life  may 
continue,  and  that  she  has  left  for  ever  the 
old  life  of  the  Latin  Quarter.    The  first  scene 
of  this  act  is  a  passionate  love  duet,  in  which 
each  expresses  to  the  other  the.  depth  of  their 
mutual    affection.     They    walk    off    together, 
happy  in  their  love.     As  they  disappear  Ca- 
oudal,  La   Borderie,   and   some   young  people 
enter.     They  see  an  inn  near  the  cottage,  and, 
attracted  by  its   appearance,  call   to  the  rest 
of   their   companions   to   join   them,   and   ask 
loudly  for  the  landlord.    A  lively  scene  ensues, 

508 


Sappho 

followed  by  a  supper.  Strolling  musicians  pass- 
ing by,  the  company  follow  them,  with  the  ex- 
ception of  Caoudal  and  La  Borderie,  who  re- 
main behind.  Jean  returns  alone  to  meet  his 
Bohemian  friends.  In  a  casual  way  Caoudal 
asks  Jean  if  he  is  still  living  with  "  Sappho," 
the  name  by  which  Fanny  has  been  known 
among  the  artists  of  the  Latin  Quarter.  Jean 
does  not  understand  to  whom  his  friend  refers. 
The  truth,  however,  is  soon  made  evident  to 
him,  and  he  realizes  for  the  first  time  that  the 
model  of  the  statuette  Caoudal  gave  him  is  the 
girl  to  whom  he  has  given  his  whole  heart.  The 
realization  fills  him  with  disgust,  and  he  denies 
to  Caoudal  that  Fanny  is  still  with  him. 
Caoudal  then  tells  him  of  some  of  Fanny's 
adventures  as  a  model,  and  that  she  has  a 
child  living  with  her  father  got  by  a  former 
lover.  Jean,  overcome  with  rage  and  anger, 
voices  his  feelings  in  terms  of  hatred  against 
her.  Fanny  enters  at  this  instant  radiant  with 
happiness.  Seeing  Caoudal  and  La  Borderie 
with  Jean  and  noticing  Jean's  disfigured  coun- 
tenance, she  realizes  that  she  has  been  betrayed. 
Jean  reviles  her  for  her  deception.  "  All  my 
love  has  been  changed  to  gall,"  he  cries.  Fanny 
curses  her  past  friends  as  a  pack  of  cowards. 
She  believes  they  have  purposely  told  on  her  to 
deprive  her  of  the  joy  of  the  one  pure  love  of 

509 


The  Standard   Operaglass 

her  life,  and  the  curtain  falls  on  the   agony 
of  her  despair. 

In  the  fourth  act  we  are  taken  to  Jean  Gaus- 
sin's  parental  home  in  Provence.  A  house  to 
the  right  and  a  garden  with  a  well  to  the  left 
are  backed  by  the  Ehone  and  the  landscape  of 
the  country  round  Yilleneuve.  Cesaire,  Di- 
vonne,  and  Irene  are  present  with  Jean,  who  is 
distressed  and  sad  because  he  finds  himself  un- 
able to  endure  his  old  life  in  the  country.  The 
parents  try  to  comfort  him,  and  his  cousin  re- 
minds.him  of  the  days  of  their  childhood  when 
they  were  Joseph  and  Mary  to  each  other.  But 
all  is  of  no  avail.  Cesaire  suddenly  comes  in 
and  bids  his  wife  and  Irene  to  go  away.  While 
they  are  there  he  will  not  explain  his  reason 
for  the  request,  but  when  they  leave  he  tells 
Jean  that  "  Sappho  "  is  come.  He  begs  his  son 
to  be  brave,  and  Jean  promises  his  father  that 
he  will  never  give  way.  Cesaire  goes  out  and 
Fanny  comes  in,  walking  slowly  and  looking 
about  her.  Seeing  Jean,  she  rushes  toward  him 
as  if  to  throw  her  arms  about  his'  neck,  but 
Jean's  aspect  holds  her  back.  . "  Blame  me  not 
that  I  have  sought  you/'  she  cries;  she  cannot 
bear  his  absence  from  her.  Her  seductive 
beauty  and  simple  pleading  so  touch  him  that 
his  resolves  melt  away,  and  he  is  about  to  be- 
come  reconciled  to   her  when   his   father  and 

510 


Sappho 

mother  come  in.  They  are  just  in  time,  as  they 
see,  and  Cesaire  orders  his  son  into  the  house. 
Fanny  steps  forward  to  go  to  Jean,  but  finds 
herself  face  to  face  with  his  mother.  Fanny 
asks  her  who  she  is  and  Divonne  tells  her  she 
is  Jean's  mother.  Fanny,  in  confusion,  begs 
her  pardon,  and  then,  seeing  Jean  going  away, 
she  stretches  out  her  arms  to  him  and  leaves, 
sobbing. 

It  is  winter  when  the  curtain  rises  on  the 
fifth  act.  The  scene  is  the  dismantled  room  of 
the  little  house  at  Ville  d'Avray,  where  Jean 
and  Fanny  had  lived  their  year's  happiness. 
The  snow-covered  country  can  be  seen  through 
a  glass  door  at  the  back.  Fanny  is  alone,  sad, 
but  resigned.  She  tears  up  some  letters  of 
Jean's  she  has  been  reading,  and  resolves  to  de- 
vote herself  to  the  upbringing  of  her  child. 
Jean  enters  suddenly  and  surprises  her  in  the 
midst  of  her  meditations.  He  could  not  stay 
away  any  longer.  He  has  come  back  to  live 
with  her.  He  has  left  his  parents,  given  up  his 
home,  resigned  his  career,  only  that  he  might 
be  with  her  again.  He  is  tired  and  worn  out 
by  the  conflict  of  emotions  he  has  endured  since 
she  left  him.  In  this  reconciliation  Fanny  calls 
him  by  the  endearing  "  my  love,"  which  sends 
Jean  back  again  into  a  fit  of  doubt  and  jealousy. 
He  is  reminded  by  it  of  Caoudal's  vivid  descrip- 

5" 


The  Standard  Operaglass 

tion  of  an  earlier  love  adventure  Fanny  had 
played  with  another  lover,  and  the  recollection 
maddens  him.  Tired  out,  however,  he  falls 
wearily  into  a  chair  and  goes  off  to  sleep.  Fan- 
ny has  now  realized  that  she  can  never  again 
live  with  Jean  in  the  happy  state  she  had 
dreamed  of,  and  of  which  she  had  had  so  in- 
toxicating a  draught.  She  writes  him  a  letter 
of  farewell,  while  he  is  restlessly  sleeping,  and, 
bidding  him  good-by,  she  goes  out  slowly,  leav- 
ing him  still  sleeping. 


51a 


Manon   Lescaut 

MANON   LESCAUT 
Opera  in  four  acts  by  GIACOMO  PUCCINI 

The  plot  of  this  opera,  by  Giacomo  Puccini, 
is  founded  on  the  famous  story  by  the  Abbe 
Prevost,  entitled  "  Manon  Lescaut."  The 
opera  was  first  produced  in  1893,  in  Milan. 

The  first  act  takes  place  at  Amiens.     The 
scene  is  a  large  square  near  the  Paris  Gate.    On 
the  right  is  an  avenue,  and  on  the  left  an  inn, 
under   whose   porch   are  tables   for  customers. 
An  outer  staircase  leads  to  the  upper  floor  of 
the  inn.    A  mixed  crowd  of  students,  citizens, 
women,    and   soldiers   are   strolling   about   the 
square  and  along  the  avenue.     Some  are  gam- 
ing.     Edmund    enters    with    some    other    stu- 
dents, followed  later  by  Des  Grieux.    The  stu- 
dents  act   as   a   chorus  to   Edmund's  "Hail, 
beautiful  night!"     When  Des   Grieux  enters 
in  melancholy   mood   the   students   joke   him. 
The  girls,  for  whom  the  students  have  been 
waiting,   now   enter   from   their   work.     They 
turn  away  from  Des  Grieux,  and  Edmund  begs 
his  friends  to  leave  him  alone.     A  postillion's 
horn  is  heard  and  a  diligence   arrives,  from 
which  Lescaut,  Geronte,  and  Manon  alight.  Des 
Grieux  is  enchanted  with  Manon's  beauty,  and 
when   Lescaut   goes   into   the    inn,   approach.  ■< 

5'3 


The  Standard  Operaglass 

Manon,  and  obtains  her  consent  to  meet  him 
later.  Lescaut  comes  back  with  Geronte.  He 
has  brought  his  sister  Manon  to  enter  her  in  a 
convent.  Geronte,  who  is  enamored  of  the  girl, 
tells  Lescaut  that  his  pretty  little  sister  seems 
unhappy.  He  invites  Lescaut  to  sup  with  him, 
and  Lescaut  accepts  the  invitation.  Lescaut  is 
attracted  by  the  gamblers  and  takes  part  in 
their  gaming.  Geronte,  seeing  Lescaut  ab- 
sorbed in  the  game,  determines  to  run  away 
with  Manon.  He  tells  the  innkeeper  he  will 
want  horses  and  a  carriage  in  an  hour,  and  that 
he  must  keep  silent  if  he  sees  a  man  and  a 
maiden  go  off.  Edmund  overhears  the  conver- 
sation, and  suggests  to  Des  Grieux  that  he 
should  run  away  with  Manon  and  take  Ge- 
ronte's  place  in  the  carriage.  Manon  keeps  her 
assignation  with  Des  Grieux,  and  the  two  go 
off  as  Lescaut  and  Geronte  appear  on  the  scene. 
Geronte  is  then  told  by  Edmund  that  Manon 
has  gone  off  with  the  young  student.  In  dis- 
gusted astonishment,  Geronte  disturbs  Lescaut 
in  his  play  and  tries  to  prevail  upon  him  to 
follow  the  flying  pair.  Lescaut,  however,  will 
have  the  supper  promised  him,  and  says  he  will 
go  after  Manon  in  the  morning.  The  curtain 
falls  to  the  sound  of  loud  laughter  from  the 
students. 

In  the  second  act  the  scene  changes  from 

5H 


Marion  Lescaut 

Amiens  to  Paris.  The  curtain  goes  up  discov- 
ering a  handsomely  furnished  room  in  Geronte's 
house,  in  which  Manon  is  now  living  as  his  mis- 
tress. She  had  left  Des  Grieux  when  his  money 
was  gone.  Manon  is  seated  at  her  toilet-table, 
waited  on  by  the  hair-dresser  with  two  assistants. 
She  is  instructing  the  hair-dresser  to  be  careful 
in  the  work  of  doing  her  hair.  Lescaut  now 
enters  and  congratulates  his  sister  on  her 
change  in  life.  Manon  keeps  instructing  the 
hair-dresser,  and,  when  the  toilet  is  finally  com- 
-  pleted,  steps  forward  to  be  admired  by  her 
brother.  In  spite  of  her  brother's  praise  of  her 
beauty  and  position,  Manon  is  sad  at  having  left 
Des  Grieux.  She  is  always  thinking  of  him. 
Geronte  is  old,  and  bad,  and  a  bore.  Singers 
now  enter,  sent  by  Geronte  to  amuse  Manon, 
and  they  sing  a  madrigal  in  praise  of  Manon's 
beauty.  Manon  gives  her  brother  money  with 
which  to  pay  the  singers,  but  Lescaut  pockets 
the  purse,  saying  he  could  not  insult  them  by 
offering  them  money.  He  bids  them  farewell 
in  the  name  of  glory,  and  the  singers  bow  them- 
selves out.  Geronte  now  enters,  bringing  with 
him  a  dancing-master,  musicians,  and  some  old 
friends.  Manon  is  bored  by  them  all.  Under 
Geronte's  instructions  a  minuet  is  danced,  in 
which  Manon  takes  part,  led  by  the  dancing- 
master. 

5i5 


The  Standard  Operaglass 

Geronte  now  suggests  that  it  is  time  to  take  a 
stroll  on  the  boulevards,  and  begs  Manon  to 
join  them  there  later.  He  leaves,  kissing 
Manon's  hand,  and  all  depart  with  him.  Manon 
is  alone,  and  busies  herself  arranging  her  toilet 
for  the  promenade,  while  waiting  for  the  sedan 
chair  Geronte  has  gone  to  order.  Des  Grieux 
suddenly  appears,  and  they  renew  their  love 
vows  in  a  charming  duet.  They  have  barely 
finished  embracing  each  other  when  Geronte 
comes  back.  They  separate  hurriedly,  in  sur- 
prise at  being  discovered.  Des  Grieux  makes 
a  menacing  step  forward  towards  Geronte,  but 
Manon  places  herself  between  them.  Geronte 
jeers  at  her  and  reminds  her  of  all  that  he 
has  done  for  her.  She  answers  him  by  plac- 
ing a  mirror  in  his  hand  and  bids  him  look 
there  and  he  will  see  why  she  cannot  love  him. 
Geronte  controls  his  ang^r  and  leaves  the  two 
together,  smiling  in  sarcasm,  and  promising 
them  that  they  will  meet  again  quickly.  The 
lovers  are  overjoyed  at  being  left  alone.  They 
determine  to  go  away  together.  Manon,  how- 
ever, is  loth  to  leave  her  jewels  and  pretty 
dresses.  Des  Grieux  is  bitter  at  her  disposi- 
tion, which  can  be  so  easily  led  by  the  allure- 
ments of  pretty  things  rather  than  by  love. 
Manon  is  moved  by  his  despair  and  begs  for- 
giveness.    She  cwears  to  be  true  and  faithful 

5i6 


Manon  Lescaut 

to  him.  Lescaut  now  enters  hurriedly  and  en- 
treats them  to  get  away  at  once.  The  vile  old 
scoundrel,  as  he  calls  Geronte,  has  called  the 
guards,  and  these  must  be  now  on  their  way. 
Manon  quickly  seizes  her  jewels,  and  she  and 
Des  Grieux  make  for  the  door.  They  find 
it  locked.  Lescaut  pushes  Manon  and  Des 
Grieux  into  an  alcove  and  follows  after  them. 
A  scream  from  Manon  is  heard,  and  imme- 
diately after  she  rushes  out  of  the  alcove,  fol- 
lowed by  Des  Grieux  and  her  brother.  From 
the  open  curtains  of  the  alcove  come  soldiers. 
The  door  is  now  burst  open  and  soldiers  rush  in 
to  arrest  Manon.  In  trying  to  escape,  Manon 
lets  fall  the  jewels.  She  is  dragged  away  by  the 
soldiers,  who  will  not  permit  Des  Grieux  to  go 
with  them. 

An  Intermezzo  is  now  played,  during  which 
Des  Grieux  declares  his  intention  to  follow 
Manon  even  to  the  end  of  the  world. 

The  third  act  takes  place  in  Havre.  The 
scene  is  a  square  near  the  harbor.  On  the  left 
is  a  soldiers'  prison,  showing  a  window  pro- 
tected by  iron  bars.  On  the  side  looking  to- 
wards the  square  is  a  large  closed  gate,  at  which 
a  sentinel  stands  guard.  In  the  distant  harbor 
a  man-of-war  ship  is  partly  visible.  Manon  is 
in  prison,  and  Des  Grieux  and  Lescaut  have 
come  to  Havre  to  be  near  her.     Des  Grieux  is 

5'7 


The  Standard  Operaglass 

distracted  with  grief.  Lescaut  tells  Des  Grieux 
he  has  bribed  an  archer,  who  will  take  the 
guard's  place  when  the  latter  is  relieved.  As 
the  dawn  breaks  Lescaut  approaches  the  bar- 
racks, and,  exchanging  a  sign  with  the  new  sen- 
tinel, goes  up  to  the  barred  window  and  taps 
cautiously.  Manon  appears  at  the  window,  and 
is  overjoyed  at  seeing  Des  Grieux.  She  tells 
them  she  is  to  be  taken  to  America.  They  at- 
tempt a  rescue,  but  they  are  disturbed  in  their 
efforts  by  the  firing  of  shots.  They  are  com- 
pelled to  leave.  A  guard  appears,  bringing  a 
number  of  women  who  are  to  sail  to  America; 
Manon  is  one  of  them.  As  they  pass  by,  Lescaut 
points  out  his  sister  to  one  of  the  citizens,  who 
have  come  to  watch  the  embarkation,  and  tells 
him  that  he  knows  her  story.  She  was  abducted 
from  her  young  lover.  Des  Grieux  attempts  to 
walk  by  Manon's  side,  but  the  sergeant  of  the 
guard  pushes  him  aside  roughly.  Des  Grieux 
threatens  him,  and  entreats  Manon  to  cling  to 
him.  Urged  on  by  Lescaut,  the  citizens  take 
Des  Grieux's  part.  The  captain  of  the  vessel 
suddenly  appears,  and,  learning  what  the  trouble 
is,  takes  pity  on  Des  Grieux  and  permits  him  to 
go  on  board  with  the  rest  for  America.  Des 
Grieux  is  overcome  with  joy,  and  Manon,  realiz- 
ing the  help  that  is  come  to  her,  opens  her  arms 
to  her  lover,  who  embraces  her.     Lescaut,  as- 

5i8 


Manon   Lescaut 

tonislied  at  the  turn  things  have  taken,  shakes 
his  head  and  walks  away. 

The  fourth  act  takes  us  to  America.  The 
scene  is  a  great  plain  near  New  Orleans.  The 
sky  is  overcast,  and  night  is  falling.  Manon 
and  Des  Grieux  enter,  poorly  clothed  and  evi- 
dently worn  out  from  fatigue.  Manon  is  ex- 
hausted and  leans  heavily  on  Des  Grieux.  They 
do  not  know  where  to  find  either  food  or  shelter, 
or  even  water  to  drink.  Manon  is  in  the  last 
stages  of  weakness,  and  Des  Grieux  is  beside 
himself  with  despair.  He  finds  a  resting  place 
for  her,  and  goes  off  to  look  for  water.  Manon, 
thinking  he  has  forsaken  her  entirely,  feels 
there  is  now  no  hope  for  her  at  all.  Only  the 
tomb,  she  cries,  can  release  her  from  her  bur- 
den. Des  Grieux  comes  back  in  time  to  be  pres- 
ent at  her  last  moments.  She  dies,  declaring 
her  love  for  him.  Des  Grieux  falls  senseless  on 
her  body. 


5*9 


The  Standard  Operaglass 

THAIS 
Opera  in  three  acts  by  JULES  MASSENET 

The  libretto  of  Thais,  by  Louis  Gallet,  for 
which  Jules  Massenet  wrote  the  music,  is  taken 
from  the  novel,  by  Anatole  France,  which  deals 
with  a  monk  of  the  sect  of  Cenobites  who,  in 
his  enthusiasm  for  his  religion,  determines  to 
convert  the  famous  beauty  and  reigning  cour- 
tesan of  Alexandria,  Thais  by  name.  This 
monk  is  known  as  Athanael.  In  his  more 
youthful  days  he  had  been  a  man  about  town, 
who  had  lived  the  gay,  dissipating  life  of  the 
rich  aristocrat  of  the  city.  He  had,  however, 
turned  away  from  this  life  of  pleasure,  and 
sought  to  repent  for  the  error  of  his  ways  by 
turning  monk.  The  opera  was  first  produced 
in  Paris,  in  1894. 

The  first  scene  of  the  first  act  is  laid  in  the 
Thebaid,  the  desert  of  Thebes  in  Egypt.  Here 
are  the  huts  of  the  Cenobites.  It  is  the  evening 
of  the  day,  and  twelve  monks  and  old  Palemon 
are  sitting  at  a  long  table  partaking  of  the 
frugal  repast.  Athanael's  seat  is  vacant.  The 
monks  discuss  Athanael  and  wonder  at  his  long 
absence.  Palemon  tells  them  the  hour  of  his 
return  is  near,  because  a  dream  showed  him  to 
him.     Athanael  appears,  advancing  slowly,  as 

520 


Thais 

if  exhausted  with  fatigue  and  sorrow.  The 
brothers  greet  him  respectfully,  and  Athanael 
sits  down  wearily,  gently  declining  the  food 
they  offer  him.  His  heart  is  filled  with  bitter- 
ness. He  has  been  to  the  city  given  over  to  sin, 
and  he  returns  now  in  mourning  and  affliction. 
A  woman,  Thais,  fills  Alexandria  with  scandal, 
and,  through  her,  hell  reigns  there.  Falemon 
prays  him  not  to  meddle  with  the  people  of  the 
time,  and  the  monks,  with  mysterious  fear,  pray 
that  the  black  demons  of  the  abyss  may  move 
off  from  their  way. 

Athanael  stretches  himself  before  his  hut  and 
lays  his  head  on  a  wooden  pallet.  Then,  pray- 
ing a  short  prayer,  he  falls  asleep.  The  evening 
becomes  darker  until  black  night  is  over  all. 
After  a  short  space  of  quiet,  a  light  appears  in 
the  midst  of  the  darkness,  and  in  a  mist  which 
rises  appears  the  interior  of  the  theater  at  Alex- 
andria. The  place  is  crowded  with  people,  and 
on  the  stage  is  Thais,  half  clothed,  but  with  face 
veiled,  performing  the  dance  of  Aphrodite.  As 
if  from  a  great  distance  is  heard  the  applause 
of  the  audience,  calling  on  Thais  by  name.  The 
vision  disappears,  and  suddenly  the  day  breaks, 
and  it  is  dawn. 

Athanael  gradually  awakes.  He  has  been 
dreaming.  When  he  realizes  what  it  was  he  had 
seen  in  his  vision,  he  prays  to  God  for  help.    He 

521 


The  Standard   Operaglass 

vows  he  will  deliver  this  woman  from  the  thral- 
dom of  the  flesh.  The  more  guilty  she  is  the 
more  compassionate  does  he  feel.  His  mission 
is  now  revealed  to  him,  he  prays,  and  he  must 
return  to  the  accursed  city.  God  forbid,  he 
cries,  lest  Thais  sink  deeper  in  the  pit  of  wick- 
edness. Palemon  comes  in  just  then  and  re- 
peats what  he  had  said  at  the  table  the  night 
before,  that  they  should  not  meddle  with  the 
people  of  the  time.  But  Athanael  is  already 
preparing  to  leave.  The  Cenobites  surround 
him  and  accompany  him  on  the  road;  then, 
kneeling  in  groups,  they  answer  to  him  as  his 
voice  is  lost  to  them  in  the  desert,  praying  that 
his  spirit  be  armed  for  the  combat,  and  that  he 
be  stronger  than  the  archangel  against  the 
charms  of  the  demon. 

The  second  scene  represents  the  terrace  in  the 
house  of  Nicias  at  Alexandria,  which  overlooks 
the  town  and  the  sea.  Athanael  slowly  appears 
and  stops  at  the  back.  A  servant,  seeing  him, 
rises  and  bids  the  beggar,  as  he  thinks  he  is, 
to  go  and  find  alms  elsewhere.  Athanael  gently 
begs  the  servant  to  tell  his  master  that  a  friend 
desires  to  speak  with  him.  The  servant  is 
about  to  strike  Athanael,  but  is  restrained  by 
the  calm  dignity  of  Athanael's  attitude,  and 
goes  to  inform  his  master.  Voices  and  laughter 
are  heard,  and  shortly  afterwards  Nicias  ap- 

522 


Thais 

pears,  leaning  on  the  shoulders  of  two  beautiful 
-and  smiling  slaves,  Crobyle  and  Myrtale.  At 
the  sight  of  Athanael  he  stops;  then,  recogniz- 
ing him  as  his  old  friend  of  the  earlier  and  gay 
days,  he  welcomes  him  with  open  arms.  When 
he  is  told  of  AthanaeFs  mission,  he  laughs  and 
warns  him  not  to  offend  Venus,  whose  priestess 
Thais  is.  Athanael,  however,  is  determined, 
and  Nicias  listens  to  his  request  for  some  decent 
clothes  in  which  he  may  meet  Thais.  Athanael 
is  dressed  and  perfumed  by  Crobyle  and  Myrtale, 
who  admire  him  for  his  handsome  appearance. 
As  they  finish  dressing  him  in  his  fine  clothes, 
acclamations  are  heard  from  a  distance,  and 
Nicias,  mounting  the  terrace,  announces  the 
c« miing  of  Thais. 

Thais  now  enters,  preceded  by  actors  and 
actresses  and  some  friends  of  Nicias.  Nicias  re- 
ceives her  gallantly,  and  leads  them  all  to  the 
banquet ing-room  behind  the  draperies.  When 
Athanael  leaves  the  banqueting-room  later  with 
Xicias's  philosopher  friends,  Thais,  who  has 
been  attracted  by  the  stranger  with  the  fierce 
eyes,  asks  Xicias  as  to  who  he  is.  Nicias  tells 
her  he  is  a  philosopher  of  a  rude  soul,  and  bids 
her  take  heed,  since  he  has  come  for  her. 
Athanael,  coming  in,  advances  towards  her,  but 
she  tells  him  to  begone,  because  she  believes  in 
love  only.    He  tells  her  straight  that  he  is  come 

523 


The  Standard  Operaglass 

to  take  her  to  the  only  true  God,  and  shall  van- 
quish Hell  in  triumphing  over  her.  As  he  is . 
about  to  leave,  he  says  to  her :  "  I  shall  go  to 
thy  palace  and  bring  thee  salvation."  Thais,  as 
she  makes  ready  to  enact  the  Aphrodite  love 
scene,  dares  him  to  brave  Venus.  Athanael, 
seeing  her  preparing  to  unrobe  herself,  rushes 
away  in  horror. 

The  first  scene  of  the  second  act  takes  us  into 
Thais's  house.  A  statue  of  Venus  is  in  the  fore- 
ground, before  which  is  a  censer.  Thais  enters 
with  her  train,  but  immediately  dismisses  them. 
She  is  tired  to  death  of  men,  their  brutality, 
and  their  indifference.  Her  life  of  gay  love  is 
become  a  weariness  to  her.  She  prays  to  Venus 
for  eternal  beauty.  Athanael  appears,  and  she 
turns  to  him,  bidding  him  beware  lest  he  love 
her.  He  does  love  her,  he  tells  her,  but  not  as 
she  understands  love.  He  loves  her  in  spirit, 
and  in  truth.  She  asks  to  be  shown  that  love. 
He  tells  her  that  the  love  she  knows  begets 
only  shame ;  but  the  love  he  brings  her  is  glori- 
ous love.  He  would  not  offend  her,  he  would 
but  try  to  make  her  yield  to  the  truth.  Thais 
looks  at  .him  with  a  vague  fear.  She  cannot 
understand  hirn  when  he  speaks  to  her  of  the 
life  everlasting.  She  takes  a  spatula  of  gold 
and  throws  some  incense  in  the  censer.  The 
aroma  excites  Athanael,  and  a  light  mist  en- 

524 


Thais 

velopes  Thais  and  the  statue  as  she  prays  to 
Venus.  Athanael,  tearing  his  borrowed  rohe 
from  off  him,  cries  to  her  to  arise.  Thais,  in 
fear,  begs  him  not  to  harm  her.  He,  on  his 
part,  conjures  her  to  become  the  bride  of 
Christ.  A  new  strength  comes  to  her  at  his 
words.  The  voice  of  Xicias,  approaching,  is 
then  heard  calling  on  Thais.  She  cries  out  that 
he  has  never  loved  anyone;  that  he  has  only 
loved  love.  She  bids  Athanael  to  go  and  tell 
Xicias  that  she  despises  all  rich  men;  that 
Nicias  must  forget  her.  Athanael  says  sternly 
that  he  will  be  at  her  doorstep  until  dawn,  and 
await  her  coming;  but  she,  with  a  last  effort  at 
resistance,  cries  out  that  she  will  remain  Thais, 
Thais  the  courtezan.  She  believes  in  nothing 
and  wants  nothing  more.  She  breaks  off  into  a 
nervous  laugh,  and  then  throws  herself  face 
down  on  the  pillows,  sobbing,  as  Athanael 
departs.  As  the  curtains  slowly  come  together, 
hiding  her  from  the  audience,  the  orchestra 
plays  a  symphonic  religious  music. 

The  second  scene  is  the  square  facing  Thais's 
house.  It  is  not  yet  daylight.  On  the  last  steps 
of  the  portico,  under  which  is  seen  a  small 
>tatue  of  Eros,  lies  Athanael,  asleep.  In  the 
rear  is  a  house  in  which  Nicias  and  his  friends 
are  still  making  merry.  The  windows  are 
lighted  up.     The  door  of  Thais's  house  opens, 

525 


The  Standard   Operaglass 

*md  she  appears,  carrying  a  lamp  over  her  head. 
Seeing  Athanael  lying  there,  she  puts  the  lamp 
down  and  approaches  him  mysteriously.  She 
is  come  as  Athanael  commanded.  She  will  fol- 
low if  he  will  lead.  She  begs  but  for  one  thing 
to  take  with  her,  the  statuette  of  Eros.  She 
explains  that  it  was  Mcias  who  had  given  it  to 
her.  Athanael,  in  great  anger,  curses  the 
poisoned  source  of  the  gift,  and  smashes  the 
statuette  on  the  pavement,  and  tells  her  to  put 
a  lighted  torch  to  all  her  possessions.  When 
Thais  and  Athanael  have  gone  into  the  house, 
Mcias  and  his  friends  appear.  Singing  and 
dancing  are  in  progress,  when  Athanael  comes 
quickly  from  the  house,  carrying  a  lighted  torch 
in  his  hand.  Mcias  recognizes  him,  and  his 
friends  jeer  him.  Athanael  bids  them  be  silent. 
Thais  is  the  spouse  of  God,  he  says.  The  in- 
fernal Thais  is  dead,  dead  for  ever.  Thais  now 
appears,  meanly  clad,  with  her  hair  in  disorder. 
The  house  takes  fire  and  a  crowd,  attracted  by 
the  noise  and  the  laughter,  fills  the  stage. 
Athanael  is  begging  Thais  to  come  away  with 
him,  while  Mcias  is  incredulous  at  the  idea 
that  she  is  willing  to  go.  Athanael  is  wounded 
by  a  stone  thrown  from  a  man  in  the  crowd. 
Great  confusion  and  uproar  ensues.  Athanael 
and  Thais  are  ready  to  die.  The  crowd  roars 
"Death/'  and  Mcias  tries  to  appease  them  by 

526 


Thais 

throwing  gold  to  them.  As  the  mob  scrambles 
for  the  gold,  Nicias  bids  farewell  to  Athanael 
and  Thais,  who  escape.  The  palace  continues 
to  burn,  and  the  curtain  falls. 

Athanael  and  Thais  have  travelled  a  long 
journey  and  are  now,  as  the  curtain  rises  on  the 
first  scene  of  the  third  act,  arriving  at  an  oasis 
in  the  desert.  Thais  is  overcome  by  fatigue  and 
can  scarcely  move.  She  is  faint  from  the  jour- 
ney and  the  heat,  and  when  she  complains,  beg^ 
ging  to  stay  awhile,  Athanael  will  have  her  walk 
on.  She  must  purify  the  body  she  gave  to 
pagans  and  infidels  by  breaking  it,  by  destroy- 
ing the  flesh.  Thais  can  go  no  further.  She 
sways  and  is  about  to  fall,  when  he  holds  her 
in  his  arms  and  seats  her  in  the  shade.  As  he 
contemplates  her,  he  notices  the  blood  flowing 
from  the  bruised  feet,  and  compassion  for  her 
fills  him.  He  falls  before  her  and  kisses  her 
feet,  calling  her  a  saint.  Thais,  recovering, 
would  go  on ;  but  now  Athanael  would  have  her 
rest,  and  he  gives  her  food.  As  she  is  eating  the 
fruit  he  has  brought  her,  the  music  of  psalmody 
is  heard  in  the  distance,  and  voices  chanting 
the  Paternoster.  Albine  and  the  White  Ladies 
now  appear,  and  Athanael  places  Thais  in  their 
care.  Thais  bids  him  a  touching  farewell,  as 
she  moves  away  with  the  White  Ladies,  and 
Athanael  is  left  alone,  leaning  on  his  stick  and 

527 


The  Standard  Operaglass 

looking    longingly    down    the    road    taken    by 
Thais.    The  curtain  falls. 

The  second  scene  takes  us  back  to  the  The- 
baid  and  the  huts  of  the  Cenobites,  by  the  river 
Nile.  The  monks  are  looking  towards  the  sky 
with  a  vague  terror.  Sounds  of  a  windstorm 
are  heard  in  the  distance.  Palemon  suggests 
that  the  food  be  placed  within  the  huts  to  save 
it  from  the  storm.  One  monk  asks  where 
Athanael  is.  Palemon  says  he  has  been  back 
for  twenty  days,  and  has  not  eaten  or  drunk  in 
all  that  time.  Athanael  comes  out  of  his  hut 
and  passes  through  without  noticing  his  brother 
monks.  When  he  is  left  alone  with  Palemon, 
he  turns  to  him  in  humility  and  begs  him  to 
remain.  He  confesses  he  cannot  keep  the  image 
of  Thais's  face  out  of  his  thoughts.  Palemon 
simply  and  gently  repeats  his  old  advice :  "  Let 
us  not  meddle,  my  son,  with  the  people  of  the 
time."  Athanael  rises  from  the  ground  by  the 
feet  of  Palemon,  where  he  has  fallen  in  shame 
of  his  confession,  and  kneels  on  the  mat.  Pale- 
mon leaves  him,  and  Athanael  stretches  himself 
and  goes  to  sleep. 

Thais  appears  to  him  in  a  vision  in  the  same 
guise  in  which  he  first  saw  her.  She  tempts 
him  to  the  love  of  Venus,  and  Athanael  cries 
out  in  his  sleep :  "  I  die,  Thais  !  Come !  "  Thais 
disappears,  laughing  loudly,  and  a  new  vision 

528 


Thais 

appears,  revealing  Thais  stretched  motionless  in 
the  garden  of  the  convent  of  the  White  Ladies. 
Around  her  are  kneeling  the  nuns.  Voices 
mourn  that  Thais  is  about  to  die.  Athanael,  in 
his  dream,  becomes  wildly  excited  and  cries 
aloud  that  Thais  must  not  die.  He  will  come 
to  take  her.  She  must  be  his.  He  rises  from 
his  sleep  and  rushes  out  into  the  night.  The 
curtain  closes  to  music. 

The  last  scene  is  the  garden  of  the  convent 

of  Albine.    Thais  is  stretched  out  beneath  a  fig 

tree  as  if  dead.     She  is  surrounded  by  Albine 

and  the  nuns.    All  pray.    Athanael  appears  at 

the  entrance  of  the  garden,  and  Albine,  seeing 

him,  goes  toward  him,  while  the  White  Ladies 

surround  the  prostrate  form  of  Thais  so  that  he 

may  not  see  it.    Albine  bids  Athanael  welcome. 

He  asks  eagerly  for  Thais.     She  tells  him  that 

she  is  about  to  see  the  eternal  light.     He  sees 

Thais,  and,  calling  her  by  name,  he  falls,  broken 

with  grief,  kneeling,  by  her  side.    Opening  her 

eyes  to  answer  his  call,  she  reminds  him  of  his 

words  to  her  and  tells  him  that  she  sees  heaven 

opening  for  her.    As  she  dies,  he  gives  a  terrible 

cry  and  falls  prostrate  by  her  side. 


529 


The  Standard  Operaglass 

HERODIAS 
A  Biblical  Opera  in  four  acts  by  JULES  MASSENET 

The  libretto  of  this  opera,  by  Jules  Massenet, 
was  written  by  Messrs.  Milliet,  Gremont,  and 
Zanardini,  and  the  opera  itself  completed  by 
the  composer  in  1880.  Its  first  performance 
took  place  in  Brussels,  on  December  19,  1881. 

The  first  act  takes  place  in  the  large  outer 
court  of  Herod's  palace,  overlooking  the  valley 
of  Jerusalem,  and  affording  a  view  in  the  dis- 
tance of  the  Dead  Sea.  The  dawn  is  about 
breaking,  though  it  is  still  dark,  and  caravans 
of  Jewish  merchants  and  chieftains  are  seen 
sleeping  on  the  ground  near  the  outer  gate, 
waiting  for  the  daylight  to  come  ere  entering  the 
palace  to  present  Herod  with  the  gifts  they  are 
bringing  him.  As  the  day  dawns  the  chiefs 
awake  and  call  to  the  merchants  to  rise,  for  the 
palace  is  open.  Two  groups  of  merchants  begin 
quarrelling  as  to  the  merit  of  their  horses  when 
Phanuel,  a  young  Jew,  enters  and  puts  a  stop 
to  the  dispute.  He  rails  at  them  for  fighting 
with  each  other  when  the  times  are  such  that 
they  ought  to  prepare  for  a  more  serious  fight, 
for  a  revolt  against  Rome  is  at  hand.  The  mer- 
chants go  down  to  the  city,  while  the  chiefs, 

53o 


Herodias 

with  the  presents  for  the  king,  borne  by  the 
slaves,  enter  the  palace. 

As  they  disappear  Salome  comes  out,  looking 
anxiously  about  her.  Phanuel  asks  her  what 
fate  has  brought  her  to  the  palace.  She  tells 
him  she  is  still  looking  for  her  mother.  She  is 
come  to  Jerusalem  because  the  prophet  is  here, 
and  he  is  kind  and  good.  She  was  sick  and 
alone,  but  her  heart  grew  peaceful  when  she 
heard  his  tender  and  musical  voice.  Phanuel 
bids  her  go,  and  assures  her  that  a  faithful 
friend  will  watch  over  her  while  she  is  here. 
Distant  voices  are  heard  shouting,  "  Jerusalem ! 
Jerusalem!  Hail!"  As  Phanuel  watches 
Salome  leaving,  the  slaves  of  the  king  appear 
and  go  toward  the  palace. 

Herod  now  enters  suddenly  by  the  door 
through  which  Salome  had  passed  and  cries  out 
excitedly  for  Salome :  "  Thee  I  adore,  Salome  !  " 
he  cries.  "  Return  once  more."  Herodias,  pale 
and  distraught,  comes  in  and  demands  of  him 
to  avenge  her  for  a  deep  insult  given  her.  She 
had  been  walking  that  morning  in  the  desert, 
when  a  half-naked  man  had  followed  her  with 
threats,  and  calling  her  "  Jezebel !  "  The  man 
was  John.  When  Herod  asks  her  what  he 
can  do,  she  tells  him  he  can  give  her  his 
head.  Herod  says  he  cannot  do  this.  The 
man    is   revered   by   the   Jews,   and    he   would 

531 


The  Standard  Operaglass 

lose  their  good  opinion  if  he  granted  her  dev- 
ilish wish.  She  tells  him  he  no  longer  loves 
her,  and  that  she  will  accomplish  her  own 
vengeance.  "  John !  "  she  cries,  "  I  will  strike 
you  down !  " 

John  enters  at  that  moment,  and,  overhear- 
ing these  last  words,  bids  her  strike,  then. 
Herod  and  Herodias  start  back  with  a  cry  at 
his  sudden  appearance.  John  curses  Herodias 
and  fills  her  with  fear.  Herod  drags  his  wife 
away  with  him  into  the  palace,  both  flying  from 
John  as  if  in  terror.  Salome  appears,  and,  see- 
ing John,  she  rushes  up  to  him  and,  falling  at 
his  feet,  cries,  "  John  !  I  have  found  thee  !  " 
John  asks  her  kindly  what  it  is  she  wants  of 
him.  She  tells  him  she  loves  him  and  that  she 
belongs  to  him.  He  pities  her  and  asks  what 
place  her  beauty  can  have  in  his  gloom  of  life. 
He  bids  her  kindly  to  go  and  leave  him.  She 
will  not  leave  him.  Her  love  is  no  blasphemy, 
she  cries ;  she  loves  him  only,  and  would  spread 
the  glory  of  her  hair  upon  his  knees.  She  em- 
braces him  passionately.  John,  as  if  inspired, 
bids  her  love  him  then,  but  her  love  must  be 
the  love  of  dreams  and  not  the  unholy  love  of 
the  body.  He  bids  her  to  raise  up  her  soul  till 
it  shall  soar,  and  realize  the  new  faith.  Salome 
tells  him  that  the  light  of  his  eyes  is  to  her 
more  splendid  than  the  sun,  and  falls  at  his  feet 

532 


Herodi 


erodias 


in  an  ecstasy  of  passion.    He  leaves  her,  point- 
ing to  the  skv.  while  the  curtain  falls. 

The  first  scene  of  the  second  act  shows  us 
Herod's  chamber  in  the  palace.  Herod  is  seen 
reclining  on  his  couch,  with  his  slaves  about  him. 
He  cannot  sleep,  and  is  restless  for  thinking 
of  Salome.  He  bids  the  slaves  dance.  A  Baby- 
lonian dance  follows.  A  young  woman  offers 
him  a  love  draught,  which  he  no  sooner  drinks 
than  an  ecstasy  of  passion  seizes  him.  He  be- 
lieves Salome  is  with  him,  and  appeals  to  her 
to  come  to  him.  Tired  out,  he  falls  asleep. 
Phanuel  comes  in  and  speaks  of  Herod  as  a  man 
blasted  by  the  delirium  of  his  love.  Herod 
awakes  and  begs  Phanuel  to  cure  him  of  his 
passion  for  Salome,  but  Phanuel  upbraids  him 
for  thinking  of  a  woman  at  a  time  when  his 
kingdom  is  in  danger  of  destruction.  Herod 
retorts  that  he  will  conquer  the  prophets  of  the 
people  when  the  Romans  have  been  driven  out, 
and  as  the  people  without  are  heard  crying, 
"  Hail  to  the  Tetrarch,"  Herod  turns  to  Phan- 
uel, encouraged  by  the  cry,  and  tells  him  he 
would  face  all  dangers. 

The  scene  changes  to  the  great  square  in 
Jerusalem,  showing  on  the  right  the  principal 
entrance  to  Herod's  palace.  The  city  itself  can 
be  -'••■n  in  the  distance,  with  Solomon's  temple 
on  Mounl  Moriah.    A  motley  crowd  of  prie.-t-^. 

533 


The  Standard  Operaglass 

Jews,  sailors,  merchants,  soldiers,  chieftains, 
and  ambassadors  are  surging  beneath  the  shade 
of  the  trees  awaiting  the  arrival  of  Herod.  The 
square  is  most  animated.  Herod  enters,  de- 
scending the  steps  of  the  palace,  and  is  cheered 
by  the  people,  who  promise  him  their  aid  in 
gaining  independence. 

A  fanfare  of  Eoman  trumpets  is  heard  in  the 
distance,  and  Herodias  appears  on  the  top  of 
the  steps  and  motions  for  silence.  She  an- 
nounces the  coming  of  Vitellius,  the  Proconsul. 
The  trumpets  are  heard  more  distinctly,  and  the 
people  rush  about  distractedly  in  fear  of  the 
coming  of  the  Eoman  soldiers.  The  Proconsul 
arrives,  preceded  by  torchbearers  and  the  Ro- 
man Standard  bearers.  Vitellius  asks  the  people 
what  it  is  they  want.  The  Jewish  priests  ask 
that  the  Temple  be  given  back  to  Israel.  Vitel- 
lius answers  them  that  Tiberius  will  grant  their 
reasonable  request.  A  great  cheering  follows, 
and  the  Proconsul  is  hailed  with  Caesar.  He- 
rodias invites  Vitellius  to  enter  the  palace,  and 
while  the  soldiers  make  ready  again  to  march, 
Salome  and  John  appear  on  the  scene,  followed 
by  the  Canaanite  women.  They  sing  "  Hosan- 
na !  Hosanna  !  Hosanna !  "  Vitellius  stops  in 
surprise  at  the  honor  done  to  John,  while  Herod, 
seeing  Salome,  points  her  out  to  Phanuel,  He- 
rodias looking  on   the  scene  in  jealous  anger. 

534 


Herodias 

John  addresses  the  people  and  Vitelline  and 
prophesies  against  Yitellins.  The  women  with 
Salome  take  up  the  chant  again,  while  the 
people  hail  the  Proconsul.  Herodias  and  Vitel- 
lius  go  into  the  palace,  and  Phanuel  leads  away 
Herod,  whose  eyes  are  riveted  on  Salome. 

The  first  scene  of  the  third  act  takes  us  to 
Phanuel's  home,  at  the  hack  of  which  is  a  large 
opening  overlooking  Jerusalem.  It  is  a  fine, 
starlit  night.  Phanuel  apostrophises  the  city 
and  wonders  who  this  John  is  who  is  come  into 
its  life.  As  he  remains  wrapt  in  thought  Hero- 
dias enters,  greatly  agitated.  She  is  come  seek- 
ing revenge.  At  her  request  he  reads  her 
horoscope  and  tells  her  that  the  star  of  Salome 
is  continually  eclipsing  her  star.  She  hids  him 
look  again,  and  he  sees  her  star  quenched  by 
blood.  He  leads  her  to  the  opening  at  the  back 
and  points  to  Salome  as  she  is  going  to  the 
Temple :  "  Your  child  !  "  he  says.  "  My  daugh- 
ter !  "  she  cries.  "  She  ?  My  rival !  "  Phanuel 
bids  her  go.  "  You  are  but  a  woman,"  he  says; 
"  a  mother,  never  !  " 

The  scene  changes  to  the  interior  of  the  Tem- 
ple, that  part  of  it  before  the  Sanctuary.  Voices 
of  women  are  heard  off  the  stage,  singing  in 
praise  of  Herod  and  his  Queen.  Salome  enters, 
almost  fainting,  and  scarcely  able  to  support 
herself.    John  has  been  thrown  into  prison  and 

535 


The  Standard  Operaglass 

his  fate  is  causing  her  to  suffer.  She  prays  that 
he  may  be  saved,  and  falls  down  before  the 
bars  of  his  prison.  Herod  enters,  preoccupied, 
soliloquizing  as  to  John's  fate  and  determined 
to  save  him.  He  sees  Salome  and  declares  his 
love  for  her,  begging  her  to  go  with  him. 
Salome  is  indignant  that  he  should  speak  to  her 
thus,  and  repulses  his  advances.  She  despises 
him  and  his  love  and  his  power,  and  calls  him 
a  disgusting  brute.  Herod  leaves  her  threaten- 
ingly, as  Salome  sinks  before  the  Sanctuary. 
The  priestly  nobles  now  enter  and  the  people 
follow  quietly  and  reverently.  As  the  high 
priest  himself  finally  comes  in  the  people  fall 
prostrate.  Worship  is  conducted  by  the  high 
priest,  at  the  end  of  which  a  sacred  dance  is 
danced  by  the  daughter  of  Manahim.  Herodias, 
Herod,  Vitellius,  and  Phanuel  now  enter,  fol- 
lowed by  the  Romans,  and  later  by  John  and 
Salome.  The  priests  demand  that  John  be  put 
to  death.  When  John  is  brought  in  Herod 
questions  him  and  then  answers  that  the  man 
cannot  be  condemned  because  he  is  mad.  Hero- 
dias would  have  the  impostor  crucified,  and 
the  people,  incited  by  the  priests,  cry  aloud  for 
his  death.  At  a  signal  from  the  priests  the 
guards  of  the  Temple  advance  to  seize  John, 
when  Salome  breaks  suddenly  through  the 
crowd  and  rushes  to  John,  crying  that  she  be 

536 


Herodias 

allowed  to  share  his  fate.  She  falls  at  John's 
feet.  Herod,  consumed  by  jealousy,  denounces 
both  John  and  Salome,  and  condemns  them 
both  to  death.  The  Temple  guards  then  ad- 
vance and  seize  them. 

The  opening  scene  of  the  fourth  and  last  act 
represents  the  dungeon  in  the  Temple,  a  cir- 
cular vault  arched  at  the  top.  John  is  sitting 
in  the  middle,  and  a  funeral  lamp  sheds  a  faint 
light  beside  him.  John,  soliloquizing,  dedicates 
himself  to  God.  He  will  die  for  justice  and 
liberty.  A  luminous  glow  now  fills  the  dun- 
geon and  Salome  appears  in  it.  He  is  aston- 
ished to  see  her  in  this  place  and  bids  her  go. 
The  priests  in  the  Temple  are  heard  shouting 
"  Death  to  the  Prophet !  "  John  again  implores 
her  to  leave  him,  but  she  will  not  go.  In  his 
arms  she  will  die,  she  cries,  as  she  embraces  him. 
The  chief  priest  now  comes  in,  followed  by  the 
slaves  of  Herod,  and  tells  John  his  hour  is 
come.  Herodias  has  commanded  that  he  be  put 
to  death.  The  slaves  seize  Salome,  tearing  her 
away  from  John,  and  John  places  himself  vol- 
untarily in  the  hands  of  the  guards  of  the  Tem- 
ple, whom  he  follows,  while  Salome  is  being 
'1  ragged  away. 

The  scene  changes  to  the  great  hall  in  the 
palace  of  the  Proconsul,  in  which  a  festival  is 
about  to  take  place.     Herod,  Herodias,  Vitel- 

537 


The  Standard  Operaglass 

lius,  and  a  number  of  Eomans  enter,  the  last 
singing  a  chorus  in  praise  of  their  arms.  Vitel- 
lius  is  acclaimed  as  Caesar's  representative,  and 
a  ballet  is  enacted  by  women  of  Egypt,  Baby- 
lonia, Gaul,  and  Phoenicia.  At  the  conclusion 
of  the  ballet  Salome  enters,  her  hair  dishevelled, 
endeavoring  to  free  herself  from  the  slaves  who 
are  holding  her.  Phanuel  and  people  also  en- 
ter. She  asks  Herod  why  she  is  refused  the  last 
favor  of  dying  with  John.  She  implores  him 
to  let  John  live.  She  turns  to  Herodias  and 
makes  the  same  supplication.  Herodias  is  in- 
dignant that  she  should  so  curse  her  mother, 
and  Herod  again  offers  her  his  love.  Salome's 
pleading  seems  to  have  some  effect  on  her 
mother,  who  is  about  to  give  way,  when  the 
executioner  appears  at  the  back  with  his  sword 
dripping  with  blood.  Salome  utters  a  loud  cry 
and  the  people  exclaim :  "  The  Prophet  is 
dead !  "  Salome,  drawing  a  dagger  from  her 
girdle,  turns  on  the  Queen  and  accuses  her  of 
having  slain  John.  In  a  rage  of  hate  for  her 
mother  she  stabs  herself  and  dies. 


538 


Lou 


lse 


LOUISE 
Opera  in  four  acts  by  GUSTAVE  CHARPENTIER 

Both  libretto  and  music  of  this  opera  are  by 
Gustave  Charpentier,  who  took  for  his  subject 
matter  the  French  law,  which  requires  the  con- 
sent of  the  parents  for  a  child  of  either  sex  to 
marry.  Charpentier  endeavors  to  show  how 
cruelly  this  law  works  when  a  genuine  love 
inspires  the  child  and  when  the  parent,  acting 
from  motives  of  prudence  and  foresight,  refuses 
to  recognize  the  profounder  impulse  which 
brings  young  people  of  different  sexes  together. 
A  young  working  girl,  Louise  by  name,  falls 
in  love  with  a  young  man,  Julien,  the  poet  of 
Montmartre.  Her  beauty  and  sweetness  of 
character  have  wrought  a  similar  feeling  in  him 
for  her.  The  father  of  Louise,  however,  re- 
fuses his  consent  to  Louise's  marriage  with 
Julien  because  he  does  not  approve  of  the  poet's 
way  of  life.  This  is  the  beginning  of  the 
tragedy  of  the  lives  of  the  young  people.  The 
opera  was  performed  for  the  first  time  in  Paris, 
in  1900. 

The  first  act  introduces  us  to  Louise's  garret 
room  in  her  father's  home,  which  is  an  ordinary 
workman's  lodging  in  Paris.  Poofs  of  houses 
are  to  be  seen,  and  a  terrace  fronting  an  artist's 

539 


The  Standard   Operaglass 

studio  is  opposite  to  the  window  of  Louise's 
chamber.  Julien,  standing  on  the  terrace,  dis- 
cusses with  Louise  at  her  window  the  refusal, 
Julien's  letter  to  her  father  for  her  hand  had 
met  with.  They  are  both  much  depressed,  but 
comfort  each  other  with  expressions  '  of  love. 
Louise  advises  Julien  to  write  again  to  her 
father,  and,  in  the  event  of  a  second  refusal, 
promises  to  run  away  from  her  home  and  live 
with  him.  The  mother  then  comes  in  and  over- 
hears part  of  what  has  been  said  by  the  young 
lovers.  She  is  angry  with  Louise  for  listening 
to  "  a  rascal,  a  starveling,  a  dissipator."  It  is 
of  no  avail  for  Louise  to  plead  that  he  is  "  so 
good,  so  courageous  " ;  in  her  mother's  eyes  he 
is  "  the  pillar  of  a  wine  shop."  The  mother  be- 
comes furiously  angry  with  Louise  and  attempts 
to  chastise  her,  but  Louise  avoids  her  by  run- 
ning behind  the  table.  They  cease  their  quar- 
relling on  hearing  steps  on  the  stairs,  and 
listen,  frightened,  for  the  arrival  of  the  father, 
who  comes  in  bearing  a  letter  in  his  hand.  On 
his  entrance  the  mother  leaves  for  the  kitchen. 
The  father  sits  down,  opens  the  letter,  and  reads 
it.  After  he  has  read  it  he  looks  at  his  daughter 
and  opens  his  arms  for  her  embrace.  She  rushes 
into  them.  The  mother,  in  the  meantime,  has 
been  preparing  the  supper,  and  when  it  is  ready 
they  all  sit  down  and  partake  of  it.    After  the 

540 


.Louise 

meal  the  father  promises  Louise  to  look  into 
Julien's  prospects  and  antecedents;  but  the 
mother  still  remains  implacable  and  resents  his 
attitude  towards  a  marriage  with  a  good-for- 
nothing  who  laughs  in  her  face  when  he  meets 
her.  He  is  a  debauchee,  and  she  could  tell  some 
dreadful  things  about  him.  Louise  indignantly 
denies  her  mother's  insinuations,  and  is  slapped 
in  the  face.  The  father  interferes,  but  the 
mother  continues  with  her  jibes,  singing  mock- 
ingly a  song  of  Julien's.  The  father  tries  to 
comfort  Louise  and  gives  her  the  newspaper  to 
read  to  him.  They  all  seat  themselves  at  the 
table,  the  mother  sewing,  while  Louise  reads: 
"  The  Spring  Season  is  most  brilliant.  All 
Paris  is  in  holiday  garb."  Louise  stops  for  a 
moment  in  her  reading  and  sobs:  "  Paris — ," 
as  the  curtain  slowly  descends. 

The  second  act  consists  of  two  scenes.  The 
first  scene  represents  the  meeting-place  of  sev- 
eral streets  in  the  Montmartre  quarter  of  Paris. 
On  the  left  of  the  stage  is  seen  a  shed,  and  on 
the  right  a  house  and  a  drinking  shop.  People 
are  going  and  coming,  shopping  during  the 
early  morning  hours.  Various  types  of  the  dis- 
trict are  introduced  chatting  and  joking  with 
each  other.  Julien  enters  with  his  companions 
of  the  cafe.  He  has  come  to  waylay  Louise  on 
her  way  to  work.     Prior  to  her  arrival  Julien 

541 


The  Standard  Operaglass 

and  his  Bohemians  make  fun  and  horseplay 
after  the  usual  manner  of  students  and  night- 
walkers.  Julien  is  left  waiting  and  watching 
for  Louise.  When  she  does  come  she  is  accom- 
panied hy  her  mother,  who  leaves  her,  after 
making  sure  no  one  is  about,  and  after  Louise 
has  entered  the  house.  Julien  comes  in  quietly 
and  then  rushes  into  the  house,  reappearing 
again,  dragging  Louise  with  him.  He  wants  to 
know  what  is  the  answer  to  his  letter  written 
to  her  father.  Louise  tells  him  that  it  is  not 
favorable.  He  then  reminds  her  of  her  promise 
to  go  with  him,  but  Louise  refuses  to  go  with 
him.  He  begs  and  implores  her,  but  Louise 
remains  firm  in  her  refusal.  She  knows  she 
will  break  her  father's  heart  if  she  goes  away 
with  Julien.  He  tries  to  drag  her  with  him, 
but  she  struggles  in  resistance.  Finally  she 
embraces  him,  after  promising  to  be  his  wife, 
and  goes  back  into  the  house,  leaving  Julien 
filled  with  despondency.  The  second  scene  of 
this  act  shows  a  workroom  for  sewing  girls, 
with  a  number  of  girls  sitting  at  work,  Louise 
being  among  them.  They  are  gossiping  to-' 
gether  and  busy  with  their  labors.  Some  of  the 
girls  twit  Louise  on  being  in  love.  Their  teas- 
ing is  interrupted  by  some  one  singing  from  the 
courtyard  below.  It  is  Julien  serenading  Lou- 
ise, determined  to  show  her  his  love  in  every 

542 


Louise 

way  he  can.  The  girls  in  the  room  throw  him 
pennies  and  kisses  by  way  of  gratuity.  Julien, 
enraged  at  this  reception,  still  continues  with 
his  serenade,  but  the  girls,  getting  tired  of  him, 
ask  him  to  stop.  He  still  goes  on,  and  the  girls, 
becoming  angry,  shout  to  the  musicians  in  the 
street  to  play.  The  musicians  obey  and  a  great 
din  ensues,  during  which  Louise,  no  longer  able 
to  stand  the  trying  situation,  takes  up  her  hat 
and  goes  out.  The  girls  are  astonished  at  her 
behavior,  and  rush  .to  the  window  to  see  what 
she  is  going  to  do.  They  find  her  walking  away 
with  Julien.  The  work-girls  are  highly  amused, 
and  the  curtain  falls  on  their  hilarious  laughter. 
The  curtain  of  the  third  act  rises  and  reveals 
a  small  house  and  garden  situated  at  the  apex 
of  the  Butte  Montmartre.  This  is  the  home  to 
which  Julien  has  brought  Louise  to  live  with 
him,  she  having  at  last  consented  to  leave  her 
parents  and  keep  her  promise.  The  two  are  in 
the  midst  of  the  enjoyment  of  their  happiness 
in  each  other,  and  a  very  charming  and  tender 
love  scene  is  enacted.  Their  friends,  having 
prepared  a  surprise  for  them,  now  come  to 
crown  Louise  as  the  Muse  of  Montmartre.  They 
come  in  by  twos  and  threes — Bohemians,  gris- 
ettes,  urchins,  carriers,  loafers,  and  others — and 
decorate  the  house  with  flowers,  garlands,  and 
lanterns.     A  chorus  in  procession  arrives  and 

543 


The  Standard  Operaglass 

greets  Louise  as  the  Muse,  presenting  her  with 
the  black  and  silver  shawl  as  the  badge  of  her 
office.  Singing  and  dancing  follow  as  part  of 
the  ceremonial,  and  a  great  concourse  of  people 
arrive  to  assist  in  the  joyful  celebration.  As  the 
crowd  gives  way,  Louise  sees  her  mother,  and 
flies  to  the  arms  of  Julien  in  fear.  The  mother 
comes  forward  humbly,  and  tells  Julien  that 
she  is  come  not  as  an  enemy.  She  is  come  to 
tell  Louise  that  her  father  is  suffering,  and  that 
she  alone  can  save  him.  Julien  looks  incred- 
ulous, but  the  mother  assures  him  of  her  hus- 
band's pitiable  condition.  On  the  mother's 
promise  that  Louise  shall  be  allowed  to  return, 
he  gives  his  permission  for  her  to  go  and  see 
her  father.  Louise  takes  off  the  shawl  of  her 
office  and  hands  it  to  Julien.  The  mother  goes 
to  the  garden  gate  and  Louise  follows.  She 
returns  for  a  tender  separation  from  Julien, 
and  the  curtain  goes  down  as  she  goes  out 
backward,  with  her  finger  on  her  lips,  as  Ju- 
lien spreads  his  arms  toward  her. 

The  scene  of  the  fourth  and  last  act  is  the 
same  as  that  of  the  first,  except  that  the  terrace 
of  Julien's  studio  is  not  there.  It  is  nine  o'clock 
of  a  summer's  evening.  Louise's  father  is  seated 
near  the  table,  while  Louise  can  be  seen  through 
a  glass  door,  in  her  room.  The  mother  comes  in 
from  the  kitchen  and  invites  the  father  to  drink. 

544 


Louise 

He  seems  not  to  hear  her,  as  he  keeps  his  eyes 
fixed  on  Louise.  He  becomes  peevish  as  his 
wife  tries  to  comfort  him,  and  talks  bitterly  of 
the  ingratitude  of  children,  who  forget  all  that 
their  parents  have  done  for  them,  who  leave 
father  and  mother  at  the  first  sight  of  an  at- 
tractive face,  and  become  lost  to  all  sense  of 
decency  and  honor.  The  mother  calls  to  Louise 
and  asks  for  her  help  in  the  house.  Louise  rises, 
arranges  her  sewing,  and  puts  out  her  lamp. 
As  she  opens  her  door  to  come  in  her  father 
opens  his  arms  for  an  embrace,  but  she  passes 
him  by  without  noticing  his  appeal,  and  disap- 
pears in  the  kitchen.  Her  mother  scolds  her 
for  her  behavior  and  begs  her  to  be  reasonable 
and  good  to  her  father,  who  is  suffering  so 
much.  Louise  replies  that  she  was  promised 
leave  to  go  back  to  her  lover — to  a  love  that  is 
free.  The  mother  mocks  her — "  free  love/'  she 
cries ;  "  that's  a  fine  story."  Louise  comes  back 
and  goes  up  to  her  father,  bids  him  good  night, 
and  offers  her  forehead  for  a  kiss.  The  father 
embraces  her  passionately,  but  Louise  is  cold 
and  unresponsive.  She  tries  to  go,  but  he  re- 
strains her,  begging  her  to  remain  as  in  the  old 
days.  He  and  her  mother,  he  says,  only  live 
for  her  happiness.  They  argue  with  each  other, 
Louise  for  her  love  and  freedom,  he  from  his 
fear  for  her  life  in  the  city.    The  mother  comes 

545 


The  Standard  Operaglass 

in  and  Louise  turns  on  her  also.  Finally  the 
parents  become  angry,  and  their  anger  arouses 
in  Louise  a  passion  for  her  lover,  on  whom  she 
calls.  She  wants  only  Julien  and  Paris — Paris 
the  beautiful.  As  she  cries  the  words  aloud,  the 
City  becomes  gradually  lighted  up.  The  father, 
enraged,  attempts  to  strike  her,  but,  changing 
his  mind,  throws  open  the  door  and  bids  her  go, 
dragging  her  to  the  exit.  "  Here's  your  pleas- 
ure, ladies,"  he  cries,  pointing  to  the  brighten- 
ing City ;  "  they'll  dance  till  they  die,  they'll 
laugh  till  they  cry."  Louise,  trembling,  runs 
round  the  room  in  deadly  fear  of  her  father. 
The  mother  begs  her  husband  to  cease  raging, 
but  the  father,  now  maddened  into  a  fury, 
rushes  at  Louise.  Louise  escapes  with  a  cry  and 
is  gone.  The  father,  dazed,  looks  about  him 
for  a  moment,  then,  realizing  that  she  is  gone, 
he  runs  to  the  staircase  crying  aloud  his  daugh- 
ter's name.  "  Louise  !  .  .  .  Louise !  "  He  re- 
turns and  looks  for  a  moment  through  the  win- 
dow; then,  shaking  his  fist  in  a  rage  at  the 
City,  he  cries :  "  Oh,  Paris  !  " 


546 


Le  Jongleur  de  Nutre   Dame 

LE  JONGLEUR  DE  XOTRE  DAME 

(THE  JUGGLER  OF  XOTRE  DAME) 

Opera  by  JULES  MASSENET 

The  plot  of  the  libretto  of  this  opera  is  sim- 
ilar to  that  employed  by  the  writers  of  the 
miracle  plays  of  the  middle  ages.  Not  that  the 
story  is  in  any  way  the  story  of  one  of  these 
miracle  plays,  but  a  miracle  is  employed  to  give 
dramatic  value  to  the  denouement.  Maurice 
Lena,  the  writer  of  the  book  of  the  libretto,  calls 
it  "  a  miracle  play,"  and,  in  a  sense,  the  phrase 
is  applicable;  but  the  old  miracle  plays  were 
altogether  interpretative  in  their  character  and 
wire  acted  to  satisfy  the  demand  of  the  time  for 
a  more  objective  presentation  of  religious  ideas. 
In  this  sense  "  Le  Jongleur  de  Notre  Dame  n  is 
not  a  miracle  play,  but  a  play  with  a  miracle. 
This  opera,  by  Jules  Massenet,  was  first  pro- 
duced in  Paris,  in  1903. 

The  first  act  takes  place  in  one  of  the  squares 
of  Cluny — a  suburb  of  Paris — some  time  in  the 
fourteenth  century.  It  is  the  first  day  of  the 
month  of  Marie,  or  May  Day,  and  the  people  are 
about  to  celebrate  the  occasion  in  front  of  the 
monastery.  Citizens  and  their  wives,  knights 
and  their  squires,  peasants,  priests,  women,  and 
common    people    are    seen    coming    and   going 

547 


The  Standard   Operaglass 

through  the  marketplace.  Among  those  to  ar- 
rive is  Jean,  a  poor  juggler,  who  performs  his 
tricks  for  their  gratuities,  and  who  makes  the 
people  laugh  by  his  remarks  and  performances. 
He  is  asked  to  sing  a  drinking  song,  and  Jean, 
loth  to  do  it,  yet  anxious  to  earn  his  day's  ex- 
penses, asks  pardon  of  the  Virgin  before  he 
complies  with  the  people's  request.  Jean  barely 
gets  through  three  of  the  verses  of  his  parody 
on  the  Paternoster,  Ave,  and  Credo,  when  the 
door  of  the  convent  opens  violently  and  the 
Prior  steps  out  in  anger.  The  people  run  away 
in  fear,  leaving  Jean,  alone  and  amazed,  with 
the  Prior.  The  Prior  turns  on  Jean  and  scolds 
him  for  his  wicked  ways,  threatening  him  with 
the  fires  "  of  formidable  hell "  if  he  mend  not 
his  life.  Jean,  terrified,  falls  to  the  ground 
in  an  agony  of  supplication  and  craves  pardon 
at  the  foot  of  the  Virgin's  statue.  The  Prior, 
seeing  Jean  humbling  himself,  thinks  that  a 
convert  may  be  made  of  the  man.  He  promises 
Jean  pardon  if  he  will  change  his  life,  and 
asks  him  to  become  a  monk,  instead  of  going 
about  as  a  vagabond.  Jean  pleads  for  his  lib- 
erty. While  he  is  still  young  liberty,  the  "  care- 
less fay  of  the  golden  smile,"  is  very  dear  to  his 
heart.  The  two  are  interrupted  by  the  entrance 
of  Boniface,  the  cook  of  the  monastery,  mounted 
on  a  donkey  which  carries  also  the  provisions 

548 


Le  Jongleur  de  Notre   Dame 

for  the  monks'  refectory.  The  sight  of  the  pro- 
visions does  for  Jean  what  all  the  Prior's  argu- 
ments failed  to  do.  He  consents  to  become  a 
monk,  and  follows  Prior  and  Boniface  into  the 
monastery,  though  not  before  he  has  retained 
possession  of  his  juggler's  outfit. 

The  second  act  takes  place  in  the  abbey's 
study  room,  which  opens  on  the  garden  of  the 
monastery.  A  picture  of  the  Virgin  is  well  in 
sight,  on  which  a  monk  is  at  work  finishing  it 
in  colors.  The  musician  monk  is  rehearsing  a 
hymn  to  the  Virgin  with  a  number  of  other 
monks  who  are  grouped  around  him.  It  is  the 
morning  of  Assumption  Day.  Jean,  musing 
sadly  by  himself,  is  bewailing  that  he  cannot 
sing  praises  to  the  Virgin  in  Latin,  because  he 
does  not  know  that  language,  and  she  would 
not  understand  him  if  he  spoke  to  her  in  com- 
mon French.  He  knows  nothing  but  the  re- 
fectory, and  begs  the  Prior  to  turn  him  away 
for  fear  he  bring  ill-luck.  The  monks  beg  Jean 
to  take  to  their  arts.  One  asks  him  to  be  a 
painter,  another  a  sculptor,  still  another  a  mu- 
sician. They  quarrel  with  each  other  over  the 
merits  of  their  respective  arts,  and  almost  come 
to  blows  in  the  heat  of  their  discussions.  The 
Prior  intervenes  and  orders  them  all  to  chapel, 
tln-re  to  practice  humility.  Jean  gets  into  a 
conversation   with    Boniface    and    deplores   his 

549 


The  Standard  Operaglass 

ignorance  and  bewails  the  fact  that  he  can  do 
nothing  to  please  the  Virgin.  Boniface,  to 
comfort  and  encourage  him,  tells  him  that  the 
Virgin  understands  French  also  and  that  she 
is  as  good  as  a  sister.  He  tells  him  a  story  of 
how  a  common  sage  plant  saved  the  life  of 
Jesus  when  he  was  being  pursued  by  the  bloody 
cavalier  of  the  King,  the  child-killer.  Jean  is 
much  moved,  and  finally  is  convinced  that  his 
prayers,  even  if  offered  in  vulgar  French,  may 
reach  as  high  as  the  King's.  Advancing 
toward  the  picture,  Jean  lifts  his  eyes  toward 
Heaven  and  prays,  remaining  in  an  attitude  of 
ecstatic  devotion  as  the  curtain  falls,  the  or- 
chestra playing,  the  while,  the  mystic  pastorale 
that  unites  the  two  acts. 

The  curtain  rises  on  the  third  act  discov- 
ering the  chapel  of  the  Abbey.  On  the 
altar,  and  plainly  visible,  is  the  painted  pic- 
ture of  the  Virgin.  Jean  is  present  with 
his  juggler's  outfit,  but  so  placed  that  he  can  be 
seen  without  his  perceiving  those  who  see  him. 
In  the  distance  the  monks  are  singing  the  hymn 
to  the  Virgin.  In  front  of  the  picture,  and 
alone,  is  the  Painter  Monk.  He  gives  a  last 
look  at  his  handiwork,  and,  noticing  Jean  en- 
tering, hides  behind  a  column.  Jean  enters  on 
tiptoe  and  approaches  the  altar.  He  tells  the 
picture  that,  knowing  naught  else  but  his  trade 

55° 


Le  Jongleur  de  Notre   Dame 

by  which  to  do  her  honor,  he  will  go  through 
the  performance  of  his  craft  under  her  eyes,  in 
order  that  she  may  take  it  as  an  expression  of 
his  devotion.  Dropping  his  monk's  robe,  he 
shows  himself  in  the  vest  of  a  juggler.  Then, 
spreading  his  carpet,  he  takes  out  his  playing 
instrument  and  plays  the  same  tune  he  played 
in  the  market-place  of  Cluny.  The  Painter 
Monk,  thinking  Jean  has  gone  crazy,  runs  off 
to  bring  the  Prior.  Jean,  bowing  to  the  Vir- 
gin, begins  his  performance,  interrupting  him- 
self to  tell  her  that  some  of  his  songs  are  hardly 
fit  for  her  ears.  Still,  he  intends  to  be  en- 
tirely respectful  toward  her.  He  then  sings 
the  pastoral.  While  he  is  singing,  the  Prior, 
led  by  the  Painter  Monk,  arrives  on  the  scene 
with  Boniface,  the  cook.  They  are  unseen  by 
Jean,  who  still  continues  with  his  juggling  per- 
formance, but  the  Prior  and  his  monks  can 
easily  see  him.  Several  times  the  scandalized 
Prior  attempts  as  if  to  rush  forward  and  put  a 
stop  to  the  sacrilege  that  is  taking  place;  but 
he  is  withheld  by  Boniface.  Jean,  in  the  mean- 
time, has  arrived  at  that  stage  of  his  perform- 
ance when  it  is  his  business  to  dance.  He 
begins  the  dance  of  a  country  step,  with  tap- 
ping of  feet  and  exclamations  of  enjoyment. 
Faster  and  faster  he  dances  until,  tired  out,  he 
falls  at  the  feet  of  the  Virgin  and  prostrates 

55* 


The  Standard  Operaglass 

himself  in  profound  adoration.  The  monks, 
who  have,  in  the  meantime,  come  in,  seeing  this 
performance,  cry  "  Sacrilige  !  "  Just  when  they 
can  no  longer  restrain  themselves,  the  face  of 
the  Virgin  in  the  picture  is  seen  to  become  ani- 
mated; her  arms  extend  towards  the  praying 
and  worshipping  Jean.  It  is  Boniface  who 
draws  the  attention  of  the  monks  to  this  won- 
der, and  when  they  see  it  they  cry,  "  Oh, 
miracle !  "  Voices  of  invisible  angels  are  heard 
singing  "  Hosannah ! "  and  the  monks,  led  by 
the  Prior,  approach  the  prostrate  Jean.  Jean 
rises,  and,  seeing  himself  surprised  in  the  cos- 
tume of  the  juggler,  falls  on  his  knees  before 
the  Prior  for  pardon.  The  Prior  bids  him  rise. 
"'Tis  for  me  to  be  at  your  knees,"  he  says  to 
Jean.  "  You  are  a  great  saint ;  pray  for  us." 
Jean,  thinking  he  is  being  mocked,  begs  to  be 
punished,  but  the  Prior  asks  him  how  can  he 
mock  the  honor  of  the  monastery  when  he  sees 
with  his  own  eyes  the  Virgin  bless  him.  The 
altar,  until  now  dimly  lighted,  is  illumined  by 
an  intense  light,  while  the  nimbus  of  the 
chosen,  detaching  itself  from  the  hands  of  the 
Virgin,  sparkles  over  the  head  of  Jean.  Jean, 
as  if  stricken  to  the  heart,  dies  in  an  ecstacy 
of  exaltation,  while  the  monks  recite  litanies. 
The  final  scene  shows  the  Virgin  mounting 
slowly  to  Heaven. 

552 


Madame  Butterfly 


MADAME    BUTTERFLY 

A  musical  tragedy  in  three  acts  by 
GIACOMO  PUCCINI 

The  plot  of  this  opera  is  founded  on  the  book 
by  John  Luther  Long  and  the  play  by  David 
Belasco.  The  scene  is  laid  in  Nagasaki,  Japan, 
and  the  action  of  the  drama  takes  place  in  our 
own  time.  The  music,  by  Puccini,  if  not  of  the 
excellence  of  the  composer's  "  La  Boheme,"  is 
yet  of  so  beautifully  melodious  a  quality  and  so 
richly  colored  by  the  spirit  of  the  place,  which 
Puccini  has  felt,  that  "  Madame  Butterfly  "  will 
undoubtedly  remain  a  standard  opera.  The 
opera  was  first  performed  in  Milan,  in  1904. 

The  story  is  the  old  story  of  a  lover  loving 
a  maid  and  then  forsaking  her.  In  this  par- 
ticular instance,  however,  the  novelty  lies  in 
the  maid  being  a  Japanese  lady  and  the  man  a 
lieutenant  in  the  American  navy. 

The  curtain  rises  discovering  Goro,  the 
matchmaker,  showing  Lieutenant  Pinkerton 
over  the  house  the  latter  had  just  purchased. 
Pinkerton  is  to  occupy  it  as  soon  as  he  has  been 
married  to  Cho-Cho-San,  the  beautiful  Japan- 
ese girl,  who  is  better  known  as  Butterfly. 
Goro,  who  sold  Pinkerton  the  house,  also  sold 
him  Cho-Cho-San,  and  the  first  scene  is  occu- 

553 


The  Standard  Operaglass 

pied  with  Goro's  enjoyment  and  Pinkerton's 
delight  in  the  place.  Suzuki,  Butterfly's  maid, 
and  two  other  servants  are  then  introduced  to 
Pinkerton,  who  is  patiently  awaiting  the  arrival 
of  his  bride. 

Sharpless,  the  American  Consul  at  Nagasaki, 
is  heard  climbing  the  hill,  and  comes  on  the 
scene  to  dissuade  his  friend  Pinkerton  from  the 
step  he  is  about  to  take.  He  begs  Pinkerton  to 
think  seriously  of  what  he  is  doing,  because 
what  may  be  a  passing  fancy  for  him  may  be  a 
serious  affair  for  the  girl.  Pinkerton,  who  is 
much  in  love  with  the  girl,  laughs  at  his 
friend's  arguments,  and  their  talk  is  inter- 
rupted by  the  arrival  of  Butterfly  and  her 
friends.  In  the  midst  of  the  general  greetings 
Sharpless  enters  into  a  conversation  with  But- 
terfly and  finds  that  his  reading  of  her  attitude 
to  Pinkerton  is  correct.  She  tells  Sharpless 
her  history,  and  informs  him  that,  owing  to  the 
death  of  her  father,  she  has  had  to  support  her- 
self and  her  mother  by  becoming  a  Geisha. 
After  the  relatives  of  the  girl  have  made  their 
formal  greetings  to  Pinkerton,  Butterfly  and 
Pinkerton  go  over  the  house  alone,  and  in  a 
charming  conversation  the  girl's  love  for  the 
American  sailor  is  laid  bare  in  all  its  simple 
sincerity.  More  relatives  arriving,  as  well  as 
the  proper  officials,  the  ceremony  of  the  mar- 

554 


Madame  Butterfly 

riage  contract  is  duly  gone  through.  In  the 
midst  of  the  joyous  toasts  an  interruption  oc- 
curs in  the  coming  of  Butterfly's  uncle,  the 
Bonze,  or  Japanese  priest,  who,  learning  that 
his  niece  has  renounced  the  faith  of  her  an- 
cestors in  order  to  wed  the  foreigner,  has  come 
to  curse  her.  He  urges  all  her  relatives  to  for- 
sake her  for  what  she  has  done,  and  they  rush 
from  her  in  horror.  Butterfly,  weeping  bitterly, 
is  consoled  by  Pinkerton,  who  brings  her  back 
to  smiles  and  joy.  The  scene  between  the  two 
is  most  charming.  The  act  closes  on  the  hap- 
piness of  the  strangely  assorted  pair  who  have 
thus  entered  on  theii  life  together. 

When  the  curtain  goes  up  on  the  second  act, 
three  years  are  supposed  to  have  elapsed,  dur- 
ing which  time  Pinkerton  has  gone  back  to 
America,  after  promising  his  wife  to  return 
"when  the  robins  nest."  Butterfly  is  alone 
with  her  maid,  Suzuki,  who  invokes  the  gods 
for  the  return  of  the  faithless  Pinkerton.  But- 
terfly, in  spite  of  the  three  years'  waiting,  is 
still  firm  in  her  faith  in  her  husband.  She  re- 
fuses the  Prince  Yamadori,  who  has  loved  her 
for  years,  and  who  sues  her  now.  In  declining 
the  Prince's  offer  of  marriage  she  tells  him  that, 
though  she  might  consider  herself  a  free  woman 
according  to  the  law  of  Japan,  she  has  married 
an  American,  and  must  abide  by  the  laws  of  his 

555 


The  Standard  Operaglass 

country.  *  How  can  I  marry  him,"  she  cries, 
"when  I  am  married  already?"  Yamadori 
leaves  and  Sharpless  enters,  bearing  a  letter 
from  Pinkerton.  He  is  afraid  to  tell  her  im- 
mediately what  the  letter  says,  so  he  prepares 
the  way  by  warning  her  that  Pinkerton  will 
never  come  back.  He  advises  her  to  accept 
Prince  Yamadori's  offer.  Butterfly  will  not 
listen  to  him.  She  points  to  her  little  baby,  a 
boy  with  the  blue  eyes  and  fair  hair  of  Pinker- 
ton, and  asks,  "  Can  such  as  this  well  be  for- 
gotten ?  "  She  begs  Sharpless  to  write  to  her 
husband  and  tell  him  what  a  fine  child  is  wait- 
ing for  him.  Sharpless,  much  touched,  leaves 
Butterfly  without  showing  her  the  letter.  Su- 
zuki then  enters,  screaming  and  denouncing 
Goro  for  spreading  a  report  that  the  child's 
father  is  not  known.  Butterfly,  goaded  almost 
to  madness  by  this  calumny,  seizes  a  knife  to 
kill  Goro,  but,  suppressing  her  anger,  she 
throws  the  knife  away,  spurning  the  wretched 
man  with  her  foot. 

Cannon  shots  are  just  then  heard  announc- 
ing the  arrival  of  a  man-of-war  ship.  Butter- 
fly rushes  to  the  terrace  with  her  maid  Suzuki, 
and  both  find  that  it  is  the  Abraham  Lincoln 
come  back  again.  Immediately  Butterfly  is 
transported  with  joy.  She  has  proved  her  faith 
and  her  husband  is  coming  back  to  her.     It  is 

556 


Madame  Butterfly 

her  reward  for  her  fidelity.  She  bids  Suzuki 
gather  flowers  from  the  garden,  and  spreads 
these  round  the  room  in  honor  of  Pinkerton's 
home-coming.  Then  the  child  is  brought  in, 
and  while  Suzuki  is  combing  his  hair  Butterfly 
rouges  her  face  to  make  ready  for  the  meeting 
with  her  husband.  They  all  sit  down  behind 
a  partition,  in  which  they  have  made  holes  so 
as  to  watch  and  see  Pinkerton's  arrival.  Night 
falls  and  Pinkerton  does  not  come.  Suzuki  and 
the  baby  fall  asleep,  but  Butterfly  stands  mo- 
tionless, looking  and  waiting.  The  curtain 
falls  on  this  moving  picture  of  the  loving  and 
faithful  wife  waiting  in  loving  expectation  the 
return  of  the  lover  who  has  left  her  alone. 

The  curtain  rises  on  the  third  act  and  dis- 
covers Butterfly  in  the  same  position  in  which 
she  was  when  the  second  act  closed.  Suzuki 
and  the  child  are  still  asleep,  and  Butterfly  is 
still  gazing  through  the  holes  of  the  shosi,  or 
partition.  Suzuki  awakes  and,  seeing  it  is 
morning,  she  begs  her  mistress  to  lie  down  and 
take  some  rest  herself.  Butterfly  then  turns 
to  her  child,  takes  it  into  her  arms,  and  retires 
into  an  inner  room.  Butterfly  has  barely  re- 
tired when  a  loud  knock  causes  Suzuki  to  be- 
stir herself.  She  opens  the  shosi  and  sees  Sharp- 
less  and  Pinkerton  standing  before  her.  Pin- 
kerton motions  to  her  not  to  disturb  Butterfly, 

557 


The  Standard  Operaglass 

and  Suzuki,  in  her  joy  at  seeing  him  back  again, 
shows  him  the  room  decorated  with  flowers  for 
his  arrival.  Suddenly  she  notices  a  strange 
lady  walking  in  the  garden,  and  learns  that  she 
is  Pinkerton's  American  wife. 

Sharpless  takes  Suzuki  aside  and  asks  her  to 
prepare  Butterfly  for  what  is  coming,  telling 
her  that  the  lady  is  come  to  adopt  the  little  boy. 
Pinkerton,  realizing  Butterfly's  faith  and  life, 
is  overcome  by  remorse.  He  begs  Sharpless  to 
comfort  her  as  best  he  can,  and  leaves  the  house 
in  tears.  Mrs.  Pinkerton  also  comes  forward 
and  urges  her  desire  to  take  the  child  with  her. 
Suzuki  has  barely  time  to  act  in  the  situation 
when  Butterfly  returns  from  her  room  expect- 
ing to  see  her  husband.  She  finds  instead 
Sharpless,  a  foreign  lady,  and  Suzuki  in  tears. 
The  truth  then  suddenly  overwhelms  her.  "  Is 
he  alive  ?  "  she  asks,  and  Suzuki  answers  he  is. 
The  answer  and  the  manner  in  which  it  is  given 
tells  Butterfly  the  terrible  truth.  She  now 
knows  that  her  husband  has  forsaken  her.  She 
listens  dumbly  and  pathetically  to  Mrs.  Pin- 
kerton's offer  to  take  the  boy  and  bears  the 
news  with  a  gentle  and  touching  dignity.  When 
her  answer  comes  it  is  said  quietly :  "  I  will 
give  up  my  child  to  him  only;  let  him  come 
and  take  him.  I  shall  be  ready  in  half  an 
hour."     Sharpless    and    Kate    Pinkerton   then 

558 


Madame  Butterfly 

leave  her.  When  they  have  gone  Butterfly  asks 
Suzuki  to  go  into  another  room  with  the  child. 
She  then  takes  her  father's  long  knife  and, 
throwing  a  white  veil  over  the  folding  screen 
she  kisses  the  blade,  noticing  as  she  does  so  the 
inscription  engraved  on  it :  "  He  dies  in  honor 
who  no  longer  lives  in  honor."  Raising  the 
knife  to  her  throat,  she  is  about  to  kill  herself, 
when  the  door  opens  and  her  child  runs  towards 
her  with  outstretched  arms.  She  snatches  the 
little  one  to  her  bosom  and  covers  him  with 
kisses.  She  then  sends  him  into  the  garden. 
Then,  seizing  the  knife  again,  she  rushes  behind 
the  screen,  and  a  little  later  the  sound  of  the 
knife  falling  to  the  ground  is  heard. 

Pinkerton  returns  and  calls  for  Butterfly. 
She  hears  him  and  drags  herself  from  behind 
the  screen  to  the  door,  but  her  strength  fails 
her,  and  when  Pinkerton  comes  in  he  finds  her 
lying  dead. 


559 


The  Standard  Operaglass 

SALOME 
Opera  in  one  act  by  RICHARD  STRAUSS 

The  production  of  this  now  famous  opera,  by 
Eichard  Strauss,  at  Dresden,  on  December  9, 
1905,  created  a  tremendous  excitement  at  the 
time.  Its  success  was  immense  and  its  per- 
formance became  the  subject  of  much  discus- 
sion, both  in  England  and  America.  In  Eng- 
land it  was  forbidden  by  the  censor.  In 
America,  however,  it  was  produced  with  great 
.  magnificence,  and  obtained  an  enormous  vogue. 
Strauss  took  for  his  text  the  play  as  written  by 
Oscar  Wilde.  In  this  play  Salome  is  given  an 
individuality  totally  different  from  that  which 
the  Biblical  tale  presents.  In  the  Bible  story, 
Salome  is  simply  the  tool  of  her  mother, 
Herodias,  who  urges  her  to  ask  for  the  head  of 
Jokanaan.  In  AVilde's  play  she  is  a  passionate 
woman,  in  revolt  against  the  life  of  the  court 
of  Herod  the  Tetrarch,  and  in  love  with 
Jokanaan,  whom  she  admires  for  his  courage 
and  daring.  Jokanaan,  however,  repulses  her 
and  declines  to  accept  her  love.  It  is  because 
of  this  that  her  love  turns  into  hatred  and 
makes  her  determined  to  avenge  herself  on  him. 
Jokanaan  had  aroused  Herod's  anger  for 
preaching  against  his  marriage  with  his  broth- 

560 


Salome 

er's  wife.  He  lias  Jokanaan  imprisoned  in  a 
cistern  in  the  palace  and  guarded  by  Boman 
soldiers.  Salome,  passing  by  the  cistern,  hears 
the  voice  of  the  prisoner  prophesying  the  ruin 
of  Jerusalem.  Attracted  by  his  beautiful  voice, 
she  asks  the  guard  to  let  her  see  the  prisoner. 

The  scene  of  the  play  is  the  great  terrace  of 
Herod's  palace,  set  above  the  banqueting  hall, 
where  some  soldiers  are  seen  hanging  over  the 
balcony.  It  is  a  moonlight  night,  and  a  young 
Syrian  soldier  is  telling  of  Salome's  beauty,  as 
he  saw  her  that  night.  Salome  enters  and  hears 
Jokanaan  crying  from  the  cistern.  She  begs 
the  young  Syrian  for  a  sight  of  the  prisoner, 
and  fascinates  him  into  an  obedience,  though 
he  knows  he  is  acting  against  orders.  When 
Jokanaan  comes  out  of  the  cistern,  he  begins  a 
prophetic  anathema  against  him  "  who  in  a 
robe  of  silver  shall  one  day  die  in  the  face  of 
all  the  people,"  and  against  her  "  who  hath 
given  herself  to  the  young  men  of  the  Egyp- 
tians." He  will  not  have  Salome  look  at  him. 
He  does  not  desire  to  know  who  she  is.  It  is 
not  to  her  that  he  would  speak.  Salome  begs 
him  to  go  on  speaking.  "  Thy  voice  is  as  music 
to  mine  ear,"  she  tells  him.  He  tells  her  to  get 
away  from  him,  but  she  answers  that  she  is 
amorous  of  his  body.  When  he  spurns  her  she 
scorns  him  and  derides  him.  The  young  Syrian 

561 


The  Standard   Operaglass 

soldier,  unable  to  endure  her  words  to  Jokanaan, 
kills  himself  and  falls  between  Salome  and 
Jokanaan.  Salome  continues  to  beg  Jokanaan 
to  let  her  kiss  his  mouth,  but  he  curses  her  and 
goes  down  into  the  cistern  again. 

Herod,  Herodias,  and  the  court  now  enter 
and  see  the  dead  body  of  the  soldier.  The  body 
is  removed  and  the  Tetrarch  calls  for  wine,  ask- 
ing Salome  to  drink.  She  declines  to  drink  or 
to  eat.  The  voice  of  Jokanaan  is  now  heard 
from  the  cistern,  prophesying  that  the  day  of 
which  he  spoke  is  at  hand.  Herodias  bids  that 
he  be  silenced,  but  Herod  tells  the  Jews  that 
the  prophet  is  a  holy  man  and  must  be  kept 
from  harm.  Five  Jews  declare  him  to  be  an 
impostor,  and  ask  for  his  death,  but  Herod 
agrees  with  the  Nazarenes  that  he  is  the  prophet 
Elias.  Jokanaan's  voice  is  again  heard  telling 
of  the  coming  of  the  Savior.  Herod  asks  who 
the  Savior  is,  and  the  Nazarenes  tell  him  that 
he  is  the  Messiah  who  is  already  come  and  who 
has  performed  many  miracles,  even  to  raising 
the  dead.  Herod  is  incredulous,  declaring  that 
the  dead  should  not  be  raised. 

The  voice  of  Jokanaan  is  again  heard,  de- 
claring that  the  coming  Messiah  will  ascend 
Herod's  throne.  Herod,  trembling  with  fear, 
asks  Salome  to  dance  for  him,  hoping  that  by 
this   means   his   mind   will   be   diverted   from 

562 


Salome 

thinking  on  the  prophet's  warnings  and  words. 
She  declines  to  dance,  but  Herod  promises  her 
anything  she  asks  of  him,  even  to  the  half  of  his 
kingdom,  if  she  will  but  dance  for  him.  Hero- 
dias  does  not  wish  Salome  to  dance,  but  Herod 
insists  that  he  will  have  her  dance.  He  gives 
a  solemn  oath  that  he  will  keep  his  promise  to 
grant  her  any  wish. 

In  spite  of  Herodias's  repeated  command 
that  she  should  not  dance,  Salome  declares  her- 
self ready.  The  musicians  then  begin  to  play 
a  furious  dance  music.  Salome,  at  first  motion- 
less, straightens  herself  and  makes  a  sign  to  the 
musicians,  who  suddenly  change  the  impetuous 
music  to  a  sweet,  lulling  melody.  Salome  then 
executes  the  "  Dance  of  the  Seven  Veils."  At 
one  time,  in  the  dance,  she  appears  to  weaken, 
but,  beginning  again  with  renewed  passion,  she 
dances  so  that  she  approaches  the  cistern  in 
which  Jokanaan  is  imprisoned.  She  remains 
for  an  instant,  as  if  in  an  ecstacy,  at  the  edge 
of  the  cistern.  Then,  rushing  forward,  she  falls 
in  a  sweep  at  Herod's  feet. 

Herod  praises  her  dancing  and  asks  what  he 
shall  give  her.  Salome  requests  that  she  shall 
have  brought  to  her,  on  a  silver  charger,  the 
head  of  Jokanaan.  Herod  cries,  "  No,  no  " ; 
but  Herodias  says  that  Salome  has  done  well  to 
ask  for  Jokanaan's  head.     Herod  begs  Salome 

563 


The  Standard  Operaglass 

to  listen  to  him.  He  has  ever  been  kind  to  her, 
let  her  therefore  not  ask  this  thing  of  him. 
Salome  simply  repeats  her  demand  for  the 
head  of  the  prophet.  "  Give  me  the  head 
of  Jokanaan,"  is  her  repeated  answer  to  all 
Herod's  pleadings.  Finally  he  consents,  and 
the  executioner  is  sent  into  the  cistern  to  bring 
the  head.  Salome  leans  over  the  cistern  and 
listens  eagerty.  She  wonders  why  there  is  no 
sound ;  but  when  the  executioner  comes  out  of 
the  cistern  bearing  the  head  on  a  silver  shield, 
Salome  seizes  it,  while  Herod  hides  his  face  in 
his  cloak,  and  Herodias  smilingly  fans  herself. 
The  Nazarenes  fall  on  their  knees  in  prayer. 
The  head  of  the  prophet  in  her  possession, 
Salome,  in  an  amorous  ecstacy,  makes  love  to  it, 
kissing  its  lips  and  caressing  it  passionately. 
Herod  looks  on  in  dreadful  astonishment. 
"  She  is  monstrous,  thy  daughter,"  he  says  to 
Herodias,  in  a  low  voice,  but  Herodias  replies: 
"  I  am  well  pleased  with  my  daughter.  She 
has  done  well."  Herod,  rising,  says :  "  Ah, 
there  speaks  my  brother's  wife."  He  will  stay 
no  longer  in  this  place,  but,  rising,  commands 
that  the  torches  be  extinguished.  "  Hide  the 
moon,"  he  cries ;  "  hide  the  stars !  Let  us  hide 
ourselves,  Herodias!  I  begin  to  be  afraid." 
Salome  is  on  the  ground,  exhausted,  but  still 
caressing  the  head  and  toying  with  its  hair.    "  I 

5^4 


Salome 

have  kissed  thy  mouth,  Jokanaan,"  she  keeps 
repeating,  exultingly.  As  Herod  is  about  to 
leave,  he  turns  and  sees  Salome  in  this  position, 
illumined  in  a  ray  of  the  moonlight.  A  great 
disgust  overcomes  him.  "  Kill  that  woman  !  " 
he  cries.  The  soldiers  rush  forward  and  crush 
Salome  beneath  their  shields. 


565 


The  Standard  Operaglass 

PELLEAS    AND    MELISANDE 
Opera  in  four  acts  by  CLAUDE  DEBUSSY 

The  libretto  of  "  Pelleas  and  Melisande,"  for 
which  Claude  Debussy  wrote  the  music,  is  taken 
from  the  play  of  that  name,  by  Maurice  Maeter- 
linck, the  famous  Belgian  dramatist  and  mystic. 

The  first  scene  of  the  first  act  discovers 
Melisande  sitting  on  the  edge  of  a  fountain, 
weeping.  Prince  Golaud,  the  eldest  grandson 
of  old  King  Arkel,  of  Allemond,  enters  and 
sees  her.  He  has  been  hunting  in  the  forest 
and  has  lost  his  way.  Seeing  Melisande,  he 
asks  her  why  she  is  there  alone  and  weeping. 
She  tells  him  not  to  touch  her.  He  questions 
her  as  to  who  she  is  and  where  she  comes  from. 
She  tells  him  that  her  name  is  Melisande,  and 
that  she  has  been  cruelly  treated.  She  will  not 
tell  him  anything  now.  The  bright  thing  shin- 
ing at  the  bottom  of  the  water  is  the  crown 
some  one  gave  her,  which  she  let  fall  when  cry- 
ing; but  she  does  not  wish  Golaud  to  recover 
it  for  her.  If  he  does  she  says  she  will  throw 
herself  in  its  place.  She  asks  him  why  he 
came  there,  and  he  tells  her  he  lost  his  way  fol- 
lowing a  boar.  He  asks  her  to  go  with  him,  and 
when  she  wants  to  know  where  he  is  going,  he 

566 


Pelleas  and   Melisande 

replies  he  does  not  know;  he  has  lost  his  way. 
They  depart  together. 

The  second  scene  of  the  same  act  is  a  room 
in  the  castle,  in  which  are  discovered  Gene- 
vieve, mother  of  Golaud  and  Pelleas,  and  Arkel, 
the  King  of  Allemond.  Genevieve  reads  to 
Arkel  a  letter  from  Golaud  to  Pelleas,  in  which 
Golaud  tells  his  brother  that  he  has  wedded 
Melisande.  He  is  afraid  that  the  step  he  has 
taken  might  not  be  pleasing  to  his  grandfather, 
and  asks  Pelleas  to  prepare  his  return  for  him. 
If  the  king  consents  to  receive  Melisande,  then 
Pelleas  shall  place  a. lighted  lamp  in  the  tower 
that  looks  on  the  sea,  so  that  he  may  see  it  from 
his  ship.  If  there  is  no  light,  he  will  know  his 
grandfather  disapproves,  and  will  sail  on,  never 
to  return.  Arkel  will  say  nothing,  but  he  feels 
that  Golaud,  since  the  death  of  his  wife,  has 
been  sad  in  being  alone.  It  is  destiny,  there- 
fore, and  he  will  not  interfere.  Let  it,  then,  be 
as  Golaud  wishes.  Pelleas  enters  and  tells 
Arkel  that  he  has  just  received  a  letter  from 
his  friend  Marcellus,  who  is  about  to  die,  and 
who  has  written  calling  on  him  to  see  him. 
Arkel  asks  Pelleas  to  wait  awhile,  and  leaves. 
Genevieve  warns  Pelleas  to  be  careful  to  light 
the  lamp  in  the  tower. 

The  third  scene  shows  the  front  of  the  castle. 
Genevieve    and    Melisande    enter.     Melisande 

567 


The  Standard  Operaglass 

complains  of  the  gloom  of  the  gardens  and  the 
forests  about  the  castle.  She  hears  a  noise,  and 
Genevieve  tells  her  it  is  Pelleas.  Pelleas  enters 
to  show  Melisande  the  way.  He  offers  his  sup- 
port, for  the  way  is  steep  and  dark. 

The  first  scene  of  the  second  act  shows  Pel- 
leas and  Melisande  standing  by  a  fountain  in 
the  park  of  the  castle.  Melisande  tries  to  reach 
the  water  and  fails  to  do  so;  her  hair,  however, 
falls  down  and  gets  wet,  for  it  is  very  long.  She 
plays  with  her  wedding  ring,  tossing  it  in  the 
air  and  catching  it  again.  Pelleas  warns  her 
to  take  care,  begging  her  not  to  throw  it  so  high. 
An  exclamation  from  Melisande  follows,  and 
the  ring  falls,  sinking  out  of  sight  into  the 
water.  She  is  greatly  distressed  at  the  mishap, 
and  asks :  "  What  shall  we  say  to  Golaud  if  he 
asks  where  it  is  ?  "  "  The  truth,  the  truth,  the 
truth !  "  cries  Pelleas. 

The  second  scene  is  an  apartment  in  the 
castle,  in  which  Golaud  is  seen  lying  sick  on  his 
bed,  with  Melisande  waiting  on  him  at  the  head. 
At  the  very  moment  when  Melisande's  wedding 
ring  had  fallen  into  the  water  Golaud's  horse 
had  run  away  with  him  and  Golaud  was  dashed 
against  a  tree.  Tenderly  Melisande  nurses  him, 
but  he  begs  her  not  to  tire  herself.  She  bursts 
into  tears,  and  Golaud  asking  her  the  reason 
for  her  weeping,  she  tells  him  that  she  is  sick 

568 


Pelleas  and  Melisande 

here,  that  she  is  not  happy.  Golaud  questions 
Melisande  as  to  a  reason  for  her  unhappiness. 
"  Is  it  Pelleas,  perhaps  ?  "  he  asks.  She  thinks 
Pelleas  does  not  like  her;  but  Golaud  advises 
her  not  to  mind  him.  Caressing  her  hand,  he 
notices  that  she  no  longer  wears  her  wedding 
ring.  He  asks  her  where  it  is.  She  says  it 
slipped  off  her  finger  while  she  was  looking  for 
shells  for  little  Yniold  (Golaud's  son)  and  fell 
into  the  sea.  The  tide  coming  in,  she  had  to 
go  before  she  could  find  it  again. 

Golaud  tells  her  he  would  sooner  have  lost 
all  he  has  than  lose  this  ring.  »She  must  go 
that  night  and  find  it;  she  must  take  Pelleas 
with  her.     She  leaves,  weeping. 

In  the  third  scene  of  this  second  act  Pelleas 
and  Melisande  are  seen  before  the  entrance  to 
the  grotto.  Pelleas  begs  Melisande  to  wait  until 
the  moon  appears  to  light  the  place.  She  must 
be  able,  he  says,  to  describe  the  place  if  Golaud 
questions  her.  The  moon,  coming  out  from 
behind  a  bank  of  clouds,  lights  up  the  entrance 
and  they  see  three  old  blind  men  with  white 
hair,  seated  side  by  side,  supporting  each  other 
and  asleep  against  a  boulder.  Melisande  is 
greatly  afraid  and  cries  out,  begging  Pelleas  to 
come  away.  Pelleas  fears  that  the  old  blind 
men  presage  a  famine  in  the  land.     The  two 

leave. 

569 


The  Standard  Operaglass 

The  first  scene  of  the  third  act  discovers 
Melisande  at  a  window  of  one  of  the  towers  of 
the  castle  combing  her  hair,  preparatory  to  ar- 
ranging it  for  the  night.  A  watchman  passes 
under  a  window  of  the  tower.  She  is  singing, 
"  My  long  hair  hangs  to  the  base  of  the  tower." 
Pelleas  comes  in  and,  seeing  her,  calls  out  to 
her.  He  asks  her  to  lean  forward  that  he  may 
see  her  loosened  hair  and  to  kiss  her  hand  be- 
fore he  departs.  She  will  not  give  him  her 
hand  unless  he  promises  to  stay.  In  her  en- 
deavors to  give  him  her  hand  she  leans  so  far 
forward  that, her  hair  falls  down  and  covers 
him.  An  ecstacy  of  love  seizes  Pelleas,  and 
Melisande  herself  is  filled  with  the  same  emo- 
tion. Pelleas,  in  spite  of  her  remonstrances, 
will  not  release  her.  While  they  are  thus  bound 
to  each  other  two  doves  come  out  of  the  tower 
and  fly  about  them.  Melisande  begs  Pelleas  to 
let  her  lift  her  head,  for  she  hears  footsteps 
approaching.  Just  then  Golaud  enters.  He 
tells  Melisande  not  to  lean  that  way  out  of  the 
window.  It  is  late,  he  says,  and  they  must  not 
play  thus  in  the  dark.  "  You  are  two  children," 
he  says,  laughing  nervously.  And  Golaud  goes 
out  with  Pelleas. 

The  second  scene  shows  the  vaults  of  the 
castle.  Golaud  enters,  leading  Pelleas  to  the 
edge  of   a  rock   overlooking  a  stagnant  lake. 

57o 


Pelleas  and   Melisande 

This  is  the  water  of  which  Golaud  had  spoken 
to  his  brother.  "  Do  you  see  the  abyss  ?  "  he 
asks  Pelleas.  Pelleas  begs  that  they  go  away. 
They  leave  in  silence. 

The  third  scene  is  the  outside  of  the  vaults. 
Pelleas  is  delighted  to  find  himself  once  more 
breathing  the  pure  air.  He  espies  Melisande 
and  Genevieve  at  a  window  of  the  tower.  Go- 
laud  is  dispirited,  and  tells  Pelleas  that  he 
heard  of  what  took  place  between  him  and 
Melisande  last  night.  He  knows  it  was  only  a 
child's  game  they  were  playing,  but  he  says 
it  must  not  be  repeated.  Melisande  is  delicate 
of  health,  and  the  least  emotion  might  bring 
about  a  misfortune.  He  has  noticed  before  that 
there  was  something  between  them,  and  he  asks 
Pelleas  to  avoid  her  as  much  as  possible. 

The  fourth  scene  shows  the  castle  tower  and 
the  window  of  Melisande's  room.  Golaud  en- 
ters, leading  his  little  child  Yniold.  He  ques- 
tions him  as  to  the  doings  of  Pelleas  and  Melis- 
ande, and  the  child  tries  to  shield  them.  He 
lifts  him  to  Melisande's  window,  which  is 
lighted  up,  so  that  he  might  find  out  what  is 
going  on  in  the  room.  The  child  tells  him  he 
sees  Melisande  and  Pelleas  in  the  room.  When 
he  asks  him  what  they  are  doing  he  tells  him 
they  are  standing  motionless,  looking  at  the 
light.    Yniold  begs  his  father  to  let  him  down, 

571 


The  Standard  Operaglass 

as  he  is  afraid  he  is  going  to  cry  out.  They 
leave  together. 

The  first  scene  in  the  fourth  act  is  a  passage- 
way in  the  castle.  Pelleas  is  begging  Melisande 
to  meet  him  at  the  fountain  in  the  park,  for 
this  last  time  before  he  goes  away.  They  sepa- 
rate and  go  out  on  hearing  voices  talking  be- 
hind the  door.  Arkel  comes  in,  accompanied 
by  Melisande.  He  sympathizes  with  her  on  her 
joyless  life  in  the  castle,  telling  her  how  he  has 
pitied  her  these  past  months.  Golaud  enters, 
enraged.  Arkel  notices  some  blood  on  his  fore- 
head, but  Golaud  explains  it  away.  Melisande 
offers  to  wipe  it  off,  but  he  pushes  her  away, 
demanding  his  sword.  He  is  not  going  to  kill 
her,  he  says,  but  hints  darkly  at  danger  for  her. 
In  a  fit  of  maddened  rage,  he  seizes  her  by  the 
hair,  dragging  her  hither  and  thither.  Arkel 
runs  forward  to  interfere,  when  Golaud  sud- 
denly ceases  his  rage,  and  saying  "  I  shall  await 
chance,"  goes  out. 

The  second  scene  is  the  terrace  shrouded  in 
gloom.  Yniold  is  trying  to  lift  a  rock  in  order 
to  find  his  golden  ball.  Bleating  of  sheep  is 
heard  in  the  distance,  and  the  boy  asks  a  shep- 
herd, who  is  not  seen,  why  the  sheep  no  longer 
speak.  The  voice  of  the  shepherd  answers: 
"  Because  it  is  not  the  way  to  the  stable."  The 
child  becomes  afraid  of  the  dark,  and  goes  out. 

572 


Pelleas  and  Melisande 

In  the  third  scene  Pelleas  is  waiting  in  the 
park  at  the  fountain  for  the  arrival  of  Melis- 
ande. She  comes  late,  but  explains  that  Golaud 
had  a  bad  dream  and  that  her  gown  was  torn 
by  being  caught  on  the  nails  of  the  gate.  Pel- 
leas, embracing  her,  confesses  his  love,  and  she 
tells  him  that  she  loves  him,  too.  The  mutual 
confession  causes  both  of  them  to  be  overcome 
alternately  with  joy  and  fear.  Melisande  hears 
a  noise,  the  crackling  of  dead  leaves,  she  says. 
Pelleas  only  hears  the  beating  of  her  heart  in 
the  darkness.  By  the  light  of  the  moon,  how- 
ever, they  see  Golaud.  Eealizing  that  they  are 
lost,  they  throw  themselves  into  each  other's 
arms  as  Golaud  rushes  forward  with  drawn 
sword  and  strikes  his  brother  with  it  on  the 
head.  Melisande  flies,  terror-stricken,  with 
Golaud  pursuing  her  through  the  wood  in 
silence. 

The  fifth  act  consists  of  but  one  scene.  It  is 
an  apartment  in  the  castle,  in  which  Melisande 
is  lying  extended  on  her  bed.  Arkel,  Golaud, 
and  the  physician  are  in  the  room  also.  The 
physician  is  assuring  them  that  Melisande  can- 
not die  from  the  little  wound  she  has  received, 
and  begs  them  not  to  grieve.  Melisande  has 
been  ill  for  weeks,  but  she  now  partly  recovers 
consciousness.  Golaud,  dragging  himself  to- 
ward the  bed,  calls  on  her  by  name.     She  an- 

573 


The  Standard  Operaglass 

swers  him  that  she  barely  recognizes  him. 
Golaud  begs  Arkel  and  the  physician  to  leave 
him  alone  with  his  wife.  When  they  have  gone 
he  begs  Melisande  for  forgiveness ;  but  he  must 
know  the  truth.  Did  she  love  Pelleas  ?  "  Yes," 
she  answers.  Has  she  been  guilty  with  him? 
He  will  have  the  truth.  She  seems  not  to  un- 
derstand him.  Seeing  Arkel  and  the  physician 
at  the  door  he  tells  them  they  can  come  in,  for 
she  is  already  far  from  them.  He  believes  he 
has  killed  her.  Melisande  becomes  conscious 
again,  but  has  not  the  strength  to  do  what 
Arkel  asks  of  her.  The  room  is  then  filled, 
one  by  one,  with  the  maid  servants  of  the 
castle,  who  range  themselves  in  silence  by  the 
walls  and  wait.  All  realize  that  Melisande  is 
dying,  and  on.Arkel's  request  that  all  speak 
low,  the  servants  fall  suddenly  on  their  knees. 
Arkel  asks  what  is  the  matter;  the  physician 
approaches  the  bed  and  feels  the  body.  "  They 
are  right,"  he  says.     Melisande  was  dead. 


574 


Electra 

ELECTEA 
Tragic  opera  in  one  act  by  RICHARD  STRAUSS 

This  opera,  by  Richard  Strauss,  produced 
after  much  preparation  by  Mr.  Oscar  Hammer- 
stein,  at  the  Manhattan  Opera  House,  in  the 
season  of  1909-10,  aroused  such  a  difference  of 
opinion  as  to  its  musical  merits,  that  critics  in 
England,  Germany,  and  America  carried  on 
quite  an  animated  discussion  for  many  weeks. 
Mr.  Bernard  Shaw  praised  it  highly;  Mr. 
Ernest  Newman  condemned  it.  Be  opinion, 
however,  what  it  may,  the  opera  is  remarkably 
effective  in  its  dramatic  power,  and  an  astonish- 
ing musical  feat.  It  was  first  performed  in 
Dresden,  on  January  25,  1909. 

The  text  of  the  opera  is  by  Hugo  Yon  Hof- 
mannsthal,  a  young  Austrian  poet.  It  deals 
with  the  tragic  incident  in  Electra's  life  which 
makes  her  the  avenger  of  her  father's  death  on 
both  her  mother,  Clytemnestra,  and  on  her 
mother's  paramour,  iEgisthus.  The  entire  ac- 
tion takes  place  in  one  act  in  an  inner  court  of 
the  palace  of  the  King  at  Mycene. 

When  the  curtain  rises  serving-women  at  the 
well  are  discussing  Electra's  whereabouts.  As 
one  of  them  remarks  that  it  is  the  hour  when 
she  cries"  out  upon  her  father,  Electra  comes 

575 


The  Standard  Operaglass 

running  out  of  a  door  and  springs  back  like  a 
wild  beast  into  its  lair.  The  servants  continue 
their  remarks,  telling  how  Electra  lives  and 
how  she  is  behaving  madly  towards  them.  The 
overseer  now  comes  in  and  dismisses  them  into 
the  palace,  he  going  with  them. 

Electra  then  comes  out  of  the  house.  She 
appears  in  the  red  flickerings  of  light  which 
fall  through  the  branches  of  the  fig  trees.  She 
bewails  her  father's  loss  in  a  speech  of  passion- 
ate feeling,  and  swears  to  avenge  his  death  with 
the  help  of  Orestes,  her  brother.  When  she  and 
he  and  her  sister  Chrysothemis  shall  have  done 
this,  then  the  three  of  them  will  dance  about 
their  graves.  Chrysothemis  enters  and  looks 
anxiously  for  Electra,  calling  on  her  softly. 
Electra  turns  round  like  a  night  wanderer  and 
staggers  as  she  sees  her  sister's  face.  She  asks 
Chrysothemis  what  she  wants,  and  Chryso- 
themis tells  her  that  Clytemnestra  and  iEgis- 
thus  intend  to  shut  Electra  up  in  a  dark  tower. 
Electra  laughs  and  is  not  afraid.  Chrysothemis 
blames  Electra  for  what  is  happening  to  them 
both.  But  for  her  hate  and  immitigable  mind 
they  would  have  let  them  out  of  this  prison. 
She  will  not  sleep  in  the  place  every  night  until 
she  come  to  die.  She  will  endure  no  more  to 
herd  with  menials.  Electra  answers  her  that 
she  will  wrest  the  axe  out  of  her  motKer's  hand 

576 


Electra 

and  kill  her.  She  it  was  who,  from  her  breast, 
sent  bad  dreams  to  their  mother.  She  will  yet 
drive  her  before  her  and  kill  her.  They  hear 
a  noise  as  of  some  people  approaching,  and 
Chrysothemis  fears  it  is  her  mother  coming. 
She  begs  Electra  not  to  cross  her  mother's  path 
if  only  but  for  this  one  day.  Electra  answers 
that  she  has  a  mind  to  speak  to  her  mother  as 
she  has  never  spoken  to  her  before. 

Against  the  brightly  lighted  corridor  shuffles 
and  clatters  a  hurrying  procession.  There  is  a 
tugging  and  hauling  of  beasts,  a  smothered 
chiding,  a  quickly  stifled  cry,  the  swish  of  a 
whip,  a  pulling  back  and  staggering  forward. 
Chrysothemis,  in  fear,  leaves  by  the  door  of  the 
court,  and  Clytemnestra  appears  in  the  wide 
window.  She  leans  on  her  waiting- woman,  her 
sallow  and  bloated  face  looking  whiter  above 
her  scarlet  dress  in  the  glare  of  the  torches. 
She  is  bedecked  all  over  with  precious  stones 
and  talismans.  Electra  stands  rigid  and  still, 
her  face  turned  toward  the  window.  Clytem- 
nestra suddenly  opens  her  eyes,  and,  trembling 
with  anger,  points  with  her  staff  at  Electra. 
She  rails  at  her  for  her  conduct;  she  calls  her 
a  serpent  rearing  its  tongue  at  her,  and  calls  on 
the  immortal  gods  asking  them  why  is  this  done 
to  her.  A  splendidly  powerful  and  dramatic 
dialogue    follows    between    Electra    and    her 

577 


The  Standard  Operaglass 

mother,  in  which  Clytemnestra,  with  royal  dig- 
nity, and.  Electra,  with  terrible  hate,  lay  bare 
the  tragedy  of  Agamemnon's  death  by  the  hand 
of  iEgisthus.  Electra,  to  the  speechless  horror 
of  her  mother,  pictures  to  her  the  terrible  state 
in  which  she  must  live  with  iEgisthus.  Mated 
to  this  man,  she  cries,  the  bitter  gall-drops  must 
fall  on  her  heart.  She,  Electra,  stands  before 
her  so  that  she  may  see  in  her  face  the  mingled 
features  of  her  father  and  her  own.  Her  silent 
presence  has  brought  to  nought  her  last  word, 
and  her  soul  has  hanged  itself  within  its  self- 
slung  noose.  They  stand  eye  to  eye,  Electra  in 
the  wildest  intoxication,  Clytemnestra  breath- 
ing horribly  with  fear.  At  this  moment  a  wait- 
ing-woman comes  running  and  whispers  some 
words  into  Clytemnestra's  ear.  At  first  Clytem- 
nestra seems  not  to  understand,  but  the  waiting- 
woman  repeating  the  message,  they  both  hur- 
riedly run  into  the  house.  Electra  wonders 
what  was  said  to  Clytemnestra,  and  Chryso- 
themis  comes  running  to  the  door  of  the  court, 
crying  aloud  that  Orestes  is  dead.  The  news 
renders  Electra  almost  speechless.  She  had  been 
expecting  Orestes,  for  whom  she  had  sent,  to 
help  her  in  carrying  out  her  scheme  for  venge- 
ance. She  will  not  believe  the  news,  but 
when  there  seems  to  be  no  doubt  about  it  she 
tells  her  sister  that  the  work  must  now  fall  on 

578 


Electra 

the  two  left.  She  and  Chrysothemis  must  kill 
"  the  woman  and  her  husband."  Chrysothemis 
is  speechless  with  horror  at  the  idea  of  killing 
her  mother,  and  thinks  Electra  is  beside  her- 
self. Electra  tells  her  she  is  strong,  and  with  a 
knife  or  an  axe  she  could  easily  do  it.  Chryso- 
themis recoils  in  horror  and  will  have  nothing 
to  do  with  Electra's  plans.  Electra  begs  on  her 
knees  for  her  help,  but  Chrysothemis  says  she 
simply  cannot.  When  she  runs  awo.y  from 
Electra  through  an  inner  door,  Electra  sends  a 
curse  after  her. 

Realizing  at  last  that  she  alone  must  do  the 
deed,  she  says,  "  Then,  alone  ! ';  She  begins  to 
dig  hurriedly  at  the  wall  of  the  house,  like  an 
animal.  As  she  goes  on  digging,  Orestes  stands 
at  the  door  of  the  court  and  sees  her.  He  had 
been  banished  from  the  court  from  fear  of  what 
he  might  do.  Clytemnestra  has  been  living  in 
daily  dread  of  his  return.  What  the  waiting- 
woman  had  whispered  into  Clytemnestra's  ear 
was  the  information  that  two  messengers,  an 
old  man  and  a  youth,  had  arrived  in  the  palace 
bringing  the  news  that  Orestes  was  dead.  It 
was  this  news  that  had  made  Clytemnestra's 
face  take  on  its  glad  look  when  she  left  Electra. 
Orestes  stands  now  looking  at  his  sister.  She 
sees  him,  but  does  not  recognize  him  in  his  dis- 
guise.    She  tells  him  she  has  nothing  to  give 

579 


The  Standard  Operaglass 

him,  but  he  tells  her  he  is  come  with  another 
with  an  errand  for  a  lady.  She  begs  him  to  go 
away  and  leave  her.  He  is  a  herald  of  misfor- 
tune. When,  later,  he  tells  her  that  Orestes 
lives,  she  flings  herself  round  and  cries  aloud 
to  know  where  he  is.  When  he  discovers  him- 
self, she  flings  herself  into  his  arms,  sobbing. 
Eagerly  she  returns  to  her  thoughts  of  venge- 
ance, and  asks  him  if  he  will  do  it.  Yes,  the 
doer  shall  be  he,  he  answers.  Orestes  leaves 
later  with  his  foster-father,  who  is  the  old  mes- 
senger, to  perform  the  act  of  revenge.  Electra 
is  left  alone  in  intolerable  suspense.  She  runs 
to  and  fro  before  the  door,  with  bowed  head, 
like  a  wild  beast  in  its  cage.  Suddenly  from 
within  is  heard  the  cry  of  Clytemnestra.  Elec- 
tra shrieks  like  a  demon.  "  Strike  again  !  "  she 
cries.  A  second  cry  is  heard  from  within,  and 
Chrysothemis  enters  from  the  servants'  door 
and  sees  Electra  standing  with  her  back  against 
the  door.  Chrysothemis  is  followed  by  the 
servants  and  they  beg  her  to  let  them  pass 
through,  to  find  out  what  is  happening.  A  wait- 
ing-woman runs  out  to  bring  help,  but  she 
quickly  returns,  announcing  the  coming  of 
iEgisthus.  ^Egisthus  enters,  demanding  why 
it  is  there  is  no  one  to  light  the  way  for  him. 
Electra  takes  the  torch  out  of  the  ring,  and, 
running  toward  him,  bows  before  him.     She 

580 


Electra 

offers  to  light  him.  Then,  circling  him  in  a 
weird  dance,  she  makes  him  a  deep  bow.  as  he 
goes  into  the  house.  He  has  barely  got  into 
the  house  when  his  cry  is  heard,  shouting, 
"  Murder  !  Murder !  "  and  his  face  appears 
at  a  little  window.  He  is  dragged  away,  but  he 
reappears,  asking  if  no  one  hears  him.  "  Aga- 
memnon hears  you !  "  cries  Electra,  drawing 
herself  up.  As  iEgisthus  is  again  dragged 
away,  crying,  "  Woe  is  me ! "  Electra  stands 
back,  breathing  fearfully,  her  face  turned  to- 
ward the  door.  Women  come  running  wildly 
out,  Chrysothemis  among  them.  She  begs 
Electra  to  come  away  with  her,  because  Orestes 
has  done  it.  The  women  leave,  while  the  noise 
without  increases. 

Chrysothemis  is  alone  with  Electra,  who  lies 
crouching  on  the  threshold.  She  cries  shriek- 
ingly  to  Electra  to  listen  to  the  weeping.  Elec- 
tra raises  herself  and  steps  down,  her  head 
thrown  back  like  a  Maenad. 

She  lifts  her  knees,  stretches  out  her  arms, 
and  begins  her  incredible  dance.  Chrysothemis, 
who  appears  against  the  door  with  a  throng  of 
men  and  women,  cries  out  against  Electra. 
Electra  bids  them  be  silent  and  dance.  She 
bears  the  burden  of  joy,  she  cries,  and  she  will 
dance  before  them  there.  Only  one  thing  re- 
mains for  all  who  are  as  happy  as  she  is — to  be 

581 


The  Standard   Operaglass 

silent  and.  dance.  She  does  a  few  more  steps 
of  tense  triumph,  and  falls  a-heap.  Chryso- 
themis  runs  to  her,  but  Electra  lies  motion- 
less. 


582 


The   Pipe  of  Desire 

THE    PIPE    OF    DESIEE 
Opera  in  one  act  by  FREDERICK  S.  CONVERSE 

The  music,  by  Frederick  S.  Converse,  to 
George  Edward  Barton's  dramatic  poem,  was 
first  played  in  New  York  during  the  opera  season 
of  1909-10,  at  the  Metropolitan  Opera  House. 
It  is,  perhaps,  a  misnomer  to  call  the  work  an 
opera.  It  is  not  an  opera,  in  the  usual  mean- 
ing of  that  word.  It  is  rather  a  dramatic  can- 
tata for  the  stage.  But,  whether  an  opera  or 
cantata,  the  work  is  the  production  of  a  musical 
poet,  and  its  analysis  deserves  a  place  in  this 
volume,  if  only  for  the  fact  that  it  is  the  first 
opera  by  an  American  produced  for  the  first 
time  in  America. 

The  entire  opera  consists  of  but  one  act,  the 
scene  of  which  is  laid  in  an  imaginary  sylvan 
place  during  the  first  day  of  Spring.  When 
the  curtain  rises  a  level  grass-covered  place  is 
discovered,  backed  by  a  boulder  and  the  trees 
of  an  old  forest.  A  dozen  elves  are  busily  and 
merrily  engaged  in  their  work.  One  of  them 
is  scattering  seeds  to  the  wind,  others  are  re- 
moving dead  leaves  from  flowers  and  breathing 
on  them  to  melt  the  frost  which  has  covered 
them.  As  they  work  they  sing  of  the  awaken- 
ing of  Nature  from  her  winter's  sleep,  of  the 

583 


The  Standard  Operaglass 

sap  rising  in  the  stems  of  growing  things,  and 
of  the  sun's  coming  to  free  them  from  the 
prison  of  frost.  In  the  midst  of  their  singing 
the  voice  of  Iolan,  a  peasant,  is  heard  carolling 
in  the  distance,  and  growing  more  and  more 
distinct  as  he  approaches.  The  elves  know  him, 
and  plan  to  play  a  trick  upon  him  and  tease 
him.  The  sylphs  suggest  that  they  cheer  him 
on  his  way  or  dance  to  him.  The  gnomes  and 
undines  are  surprised  that  it  should  be  sug- 
gested they  should  show  themselves  to  a  man, 
but  the  others  can  see  no  harm  in  it.  So  they 
call  to  him.  As  they  call  the  Old  One  enters 
and  upbraids  the  elves  for  their  madness  in  de- 
siring to  show  themselves  to  a  man.  Iolan 
demands  to  know  now  who  is  calling,  and  as  he 
enters  the  elves  hide  behind  the  boulder.  Iolan 
imagines  himself  to  be  dreaming,  he  feels  so 
full  of  joy.  He  catches  sight  of  the  elves  as 
they  emerge  from  behind  the  trees,  and  knows 
they  are  the  wood-folk. 

The  elves  dance  round  him  and  promise  to 
protect  his  vine  and  roof  and  grant  joy  to  all 
who  trust  in  their  good-will.  Iolan  shows  them 
money  he  has  earned,  and  tells  them  he  is  to 
wed  Naoia  to-morrow.  He  bids  them  come  to 
the  feast.  The  Old  One  tells  him  it  is  for- 
bidden to  show  themselves  to  man.  No  good 
can  come  of  it.    When  Iolan  asks  to  know  who 

584 


The  Pipe  of  Desire 

this  gloomy  person  is,  he  is :  informed,  with 
great  reverence,  that  he  is  the  mightiest  of 
them  all — the  Old  One.  Iolan  asks  to  see  his 
crown  and  sceptre  and  purse  of  gold.  The  Old 
One  tells  him  the  ten  thousand  years  of  life  is 
his  crown,  the  earth  itself  his  purse  of  gold, 
and  his  sceptre  is  the  Pipe  which  hangs  round 
his  neck.  Iolan  jests  at  the  Pipe ;  his  goat-horn 
could  he  heard  ten  times  as  far.  He  is  warned 
not  to  mock  at  the  Pipe.  A  dance  is  called  for 
by  the  third  elf,  and  the  cry  is  taken  up  by  the 
rest  in  a  semi-chorus. 

The  Old  One  is  asked  to  play  for  them,  but 
he  refuses.  It  is  madness.  They  press  him  to 
play,  and  finally  he  consents,  though  he  tells 
them  it  is  an  evil  hour  in  which  he  plays.  He 
plays  a  weird  tune.  Gnomes,  sylphs,  undines, 
and  salamanders  come  out  as  he  plays.  The 
sky  becomes  overcast,  but  in  a  soft  green  light 
which  suffuses  the  place  the  undines  dance  their 
mad  dance,  Iolan  watching  the  while,  sitting  on 
a  log,  highly  amused.  As  the  elves  dance,  they 
sing  their  Spring  Song,  which  ends  in  a  burst 
of  victorious  joy.  When  dance  and  song  are 
ended  most  of  the  elves  disappear  in  the  woods, 
leaving  behind  the  Old  One  and  a  few  of  his 
companions. 

The  fourth  elf  asks  Iolan  if  he  now  believes 
in  the  power  of  the  Pipe,  but  Iolan  thinks  any 

585 


The  Standard  Operaglass 

other  would  have  done  just  as  well  for  those 
who  wished  to  dance.  The  elf  retorts  by  say- 
ing that  it  would  make  him,  also,  dance.  Iolan 
answers  that  no  power  on  earth  could  make  him 
dance,  except  with  his  bride.  The  elves  feel 
their  Pipe  to  be  insulted,  and  ask  the  Old  One 
to  make  him  dance.  The  Old  One  would  pre- 
fer not  to  do  this,  but,  being  urged  by  the  elves, 
he  sadly  accedes,  Iolan  protesting  that  he  will 
not  dance. 

The  Old  One  plays,  and  Iolan,  unable  to  re- 
sist dancing,  begs  him  to  stop  playing.  The 
elves  laugh  and  shout  at  him  to  dance.  Iolan 
is  compelled  to  dance,  and  in  dancing  curses  the 
Pipe.  He  snatches  the  Pipe  from  the  hands  of 
the  Old  One  and  breaks  the  cord  which  holds  it. 
A  cry  of  terror  from  the  elves,  and  all  are 
silent.  When  Iolan  now  tells  the  Old  One  that 
his  feet  must  now  win  back  the  sceptre,  because 
he  is  going  to  play  on  it  and  make  him  dance, 
the  Old  One  begs  him  not  to  blow  on  the  Pipe. 
They  will  give  him  anything  he  may  want — 
power,  gold,  or  wine;  but  let  him  not  play  on 
the  Pipe.  Iolan  jeers  at  him  to  think  that  he 
is  afraid.  The  Old  One  tells  him  then  that  it 
is  the  Pipe  God  gave  to  Lilith,  who  played  it  to 
Adam  in  Eden,  but  since  woman  broke  its 
charm,  it  is  now  played  by  the  elves  that  its 
music  may  be  heard  by  those  who  walk  in  soli- 

586 


The  Pipe  of  Desire 

tude  and  are  restlessly  searching.  Iolan  calls 
this  a  tale  to  tell  to  children.  The  elves  warn 
him  not  to  play,  and  the  Old  One  now  pro- 
nounces the  curse  and  tells  Iolan  that  the 
mortal  who  plays  the  Pipe  without  knowl- 
edge of  its  secret  will  die  when  he  has  under- 
stood it. 

Iolan  now  puts  the  Pipe  to  his  mouth  and 
hlows  a  harsh,  discordant  note.  As  the  sound 
issues  from  the  Pipe  the  Sun  hecomes  clouded 
over,  the  elves  vanish  with  a  startled  cry.  The 
Old  One  also  is  about  to  run  away,  but  Iolan 
catches  him  and  prevents  him  going  off  by  plac- 
ing a  stone  on  his  cloak  so  that  he  cannot  free 
himself.  Iolan  blows  again  on  the  Pipe,  but 
seems  unable  to  master  it.  If  only  he  could 
play  the  music  that  is  now  rising  up  in  his  soul, 
he  cries.  He  begins  once  again,  and  this  time 
beautiful  music  issues  from  it,  which  he  re- 
peats. He  drops  the  Pipe,  and  his  eyes  become 
fixed,  as  if  looking  at  a  vision  before  him.  He 
speaks  to  himself,  and  says  the  music  was  the 
music  he  heard  within  his  soul.  The  vision 
that  he  is  seeing,  he  says,  pictures  the  utmost 
of  his  desires.  He  is  wealthy,  has  horses,  goats, 
and  wine.  His  harvesters  are  singing  at  their 
work.  He  sees  his  house  and  his  children  play- 
ing at  the  door.  His  wife,  Naoia,  is  coming  to 
him  through  the  roses.     He  calls  on  her  pas- 

587 


The  Standard  Operaglass 

sionately  to  leave  everything  and  come  to  him. 
With  the  last  note  of  his  call  the  sun  shines 
again,  and  the  Old  One  recovers  his  Pipe  and 
frees  himself  from  the  stone. 

As  Iolan  turns  to  go  the  Old  One  bids  him 
stay  and  listen  to  what  he  has  to  say.  The 
Pipe,  the  Old  One  tells  him,  when  he  played  it 
sounded  but  what  he,  Iolan,  desired;  but  if  he 
will  listen  again  he  will  see  the  ill  he  had 
wrought.  The  Old  One  plays,  and  at  the  first 
note  the  vision  he  before  saw  comes  again  to 
Iolan.  Naoia  now  enters,  her  clothing  in  rags 
and  her  face  bleeding.  She  tells  him  she  has 
come  to  his  call.  Iolan,  seeing  her  thus,  be- 
moans his  folly.  He  who  loved  her  so  had, 
through  his  own  heedlessness,  brought  her  mis- 
fortune. Had  he  but  known,  he  would  have 
spared  her  all  the  agony  she  tells  him  she  has 
endured.  He  will  never  leave  her  more.  She 
becomes  delirious  and  talks  of  being  together 
with  him  and  their  son,  little  Iolan.  They  ex- 
change beautifully  expressed  wishes  to  each 
other,  and  Naoia,  begging  him  to  hold  her 
closer,  closer,  dies. 

Iolan  is  broken  from  grief,  and  almost  be- 
reft of  his  reason.  He  curses  and  invokes  God, 
who  has  given  him  gold,  only  to  turn  it  into 
lead.  The  Old  One  tells  him  God's  laws  are 
eternal   and   may  not  be   disobeyed  with   im- 

588 


The  Pipe  of  Desire 

punity.    If  man  has  his  will,  man  must  pay  the 
penalty. 

The  elves  now  come  out  and  wail  because,  in- 
tending to  give  Iolan  joy,  they  brought  only 
grief  on  him.  The  Old  One  now  takes  the  Pipe 
and  plays  on  it  the  Song  of  Autumn.  Iolan 
listens,  and  the  notes  send  his  soul  back  to  his 
loved  one.  The  Pipe  soothes  him  to  sleep,  and 
he  sinks  down  by  the  body  of  Naoia  and  dies  in 
a  burst  of  glad  music.  The  elves  come  out  and 
say  that  they  who  die  for  love  have  accom- 
plished their  life.    Nothing  is  wasted. 


589 


Tlie  Standard  Operaglass 

L'AMORE  DEI  TEE  EE 

Tragic   Grand  Opera  in    Italian.      Three   acts.      By 
ITALO  MONTE  MEZZI 

Text  by  SEM  BENELLI 

The  first  production  occurred  in  Milan,  1913. 
The  scene  is  the  remote  mountain  country  of 
Italy,  and  the  action  is  supposed  to  happen 
about  the  tenth  century.  In  the  mythical 
country  of  Altura  the  rule  of  King  Archibaldo, 
one  of  the  northern  barbarian  conquerors,  has 
been  established.  Forty  years  have  elapsed  since 
then,  and  the  king  is  now  blind.  His  beloved  son 
Manfredo,  carefully  nurtured,  is  absent  in  war. 
Two  of  the  conquered  royal  line,  Fiora,  now 
spouse  of  Manfredo,  and  Avito,  are  remaining 
with  the  hoary  King  Archibaldo,  within  the 
castle. 

During  Act  I  the  old  king,  sleepless  and  a 
prey  to  unrest,  visits  the  impregnable  battle- 
ments of  the  castle,  being  accompanied  by  his 
trusty  attendant  Flaminio.  On  the  walls  of 
the  fastness  a  torch  is  kept  flaring  as  a  sign 
for  Manfredo's  return.  The  aged  ruler,  harassed 
by  strange  forebodings,  talks  to  Flaminio  about 
his  son,  speculating  on  the  latter's  homecoming. 
Fiora,  whose  union  with  Manfredo  was  an  en- 
forced one,  suddenly  makes  her  appearance  with 

590 


L'Amore  Dei  Tre  Re 

Avito,  the  man  to  whom  she  was  formerly  be- 
trothed, just  after  Archibaldo  has  gone  back 
to  his  chamber  for  rest.  The  two  converse, 
but  at  dawn  Avito  goes  away.  Archibaldo  now 
shows  himself  once  more,  and  although  Fiora 
attempts  to  conceal  her  presence  the  old  king 
becomes  aware  of  her  proximity,  and  when  she 
avoids  replying  to  him,  he  suspects  her  of  hav- 
ing met  a  lover  secretly.  ,  However,  he  keeps  his 
suspicions  to  himself.  Manfredo  now  is  seen 
returning.  Longing  for  his  beautiful  wife  has 
hastened  his  coming.  But  to  his  impassioned 
avowals  of  his  feelings  Fiora  turns  an  indif- 
ferent ear.  Both  retire  to  their  nuptial 
chamber,  and  the  blind  old  father,  more  than 
ever  troubled,  thanks  a  kind  fate  that  he  can- 
not see  approaching  disaster. 

The  second  act  touchingly  portrays  Man- 
fredo's  dignified  but  earnest  wooing  of  his 
young  and  charming  spouse.  Upon  the  ram- 
parts of  the  stately  stronghold  he  takes  leave 
of  her,  asking  her  for  some  farewell  token  of 
her  wifely  love.  She  rather  coldly  agrees. 
Standing  upon  the  terrace  in  front  of  the 
castle  she  waves  her  scarf  at  the  departing  hero 
and  his  band  of  followers,  in  sign  of  good  wishes. 
The  departing  Manfredo  and  his  men  remain 
for  a  long  time  within  vision.  But  as  they 
draw  out  of  sight,  Avito  again  may  be  noticed 

59i 


The  Standard  Operaglass 

climbing  up  the  stairs.  He  is  disguised  in  the 
garb  of  Flaminio.  She  recognizes  him,  how- 
ever, and  meaning  to  be  faithful  to  her  lord 
she  pleads  with  him  to  leave  her.  Avito, 
blinded  by  passion,  refuses  to  listen  to  her. 
Flora  once  more  resorts  to  her  scarf,  waving  it 
at  the  departing  husband  as  a  pledge  of  her 
affection.  While  Avito  stormily  continues  to 
plead  his  cause  with  her,  kneeling  and  uttering 
endearments,  Fiora's  resistance  droops  more  and 
more.  Avito  seizes  the  hem  of  her  robe  which 
he  kisses  rapturously.  Fiora  yields  to  him.  But 
while  this  takes  place  the  old  king  steals  upon 
them.  Avito,  though,  swiftly  evades  pursuit, 
and  is  not  recognized,  while  the  blind  man  has 
ciearly  made  out  the  voice  of  Fiora.  To  his  in- 
sistent inquiries  she  acknowledges  having  a 
lover,  but  will  not  betray  his  name.  Archibaldo 
thereupon  becomes  angered  beyond  all  self-con- 
trol, seizes  Fiora  by  the  throat,  and  when  she 
still  declines  to  confess  the  name  of  the  guilty 
one,  he  throttles  her.  The  dead  body  of  Fiora 
is  stretched  out  upon  the  ground,  and  the  aged 
ruler  is  standing  before  it  in  an  effort  to  conceal 
it,  when  Manfredo  enters.  Manfredo  has 
hastened  home  when  he  no  longer  noticed  his 
wife  signaling  to  him,  as  agreed,  with  her  scarf. 
Then  he  becomes  aware  of  the  lifeless  body,  and 
his  father,  torn  by  pity  and  remorse,  tells  Man- 

592 


L'Amore  Dei  Tre  Re 

fredo  the  sad  facts,  but  is  unable  to  give  the 
culprit's  name.  Manfredo  is  broken-hearted, 
being  at  a  loss,  besides,  to  account  for  the  fact 
that  his  wife,  when  he  had  such  a  wealth  of  love 
to  bestow  on  her,  should  have  been  unresponsive. 
He  conceives  a  hatred  for  his  father,  whom  he 
shrinks  from  as  a  murderer,  and  the  old  king 
bears  the  corpse  away. 

In  the  last  act  Fiora  lies  dead  in  the  mauso- 
leum of  the  castle,  being  lamented  over  by  old 
and  young  in  the  castle.  They  are  whispering 
that  she  was  wickedly  murdered  out  of  revenge. 
Avito  enters,  approaches  the  bier  on  which  the 
body  lies  in  state,  and  after  driving  the  curious 
away,  kneels  down  in  utter  woe  and  prays  that 
he  may  die  with  her.  Imprinting  wild  kisses 
on  the  still  lips,  he  imbibes  a  virulent  poison 
which  the  old  king,  hoping  thereby  to  trap  the 
unknown  guilty,  has  spread  over  them.  Avito 
falls  down  lifeless.  Manfredo  also  enters,  ap- 
proaches the  bier,  and  perceives  Avito,  already 
breathing  his  last.  The  truth  that  Avito  must 
be  the  lover  of  his  dead  wife,  then  dawns  on 
him,  and  in  his  wrath  he  comes  near  stabbing 
the  moribund  Avito.  The  latter  taunts  him  and 
forbids  his  touching  the  lips  of  the  dead.  But 
Manfredo  does,  and  dying  in  his  turn,  is  sur- 
prised by  his  blind  father  who  has  not  recog- 
nized the  voice  of  his  own  son  and  deems  him 

593 


The  Standard  Operaglass 

to  be  the  illegitimate  lover  for  whom  he  had 
spread  the  deadly  snare.  Manfredo,  however, 
with  the  broken  accents  of  the  dying,  reveals  to 
him  the  fact  that  he  himself,  the  blind  king,  has 
caused  not  alone  the  death  of  the  guilty  couple 
but  also  that  of  his  innocent  son. 


ANDKE  CHENIER 

Tragic   Opera  in   four   acts   by   UMBEETO   GIOR- 
DANO * 

Text  by  VICTORIEN  DECAZES 

This  opera  was  first  produced  at  Milan,  1896. 
The  book  is  based  on  historical  facts  interwoven 
with  events  during  the  great  French  revolution. 

The  first  act  takes  place  during  the  early 
part  of  the  Revolution.  The  scene  is  a  ballroom, 
being  prepared  for  a  festivity.  Gerard,  a  serv- 
ant secretly  devofed  to  the  revolutionary  cause, 
is  anxiously  awaiting  the  end  of  his  term  of 
service,  avowing  his  principles  in  the  course  of  a 
conversation.  The  Countess  de  Coigny,  the 
hostess,  comes  in  accompanied  by  Madeleine, 
a  young  girl,  and  by  Bersi,  her  attendant. 
Madeleine  speaks  reprovingly  of  the  great 
extravagance  shown  in  the  preparations  for  the 
ball,  contrasting  them  with  the  general  misery 
under  which  the  people  are  groaning.     Andre 

594 


Andre  Chenier 

Chenier,  the  rising  young  poet,  and  Fleville, 
the  author,  arrive  among  the  first  guests.  The 
good  abbe  deplores  the  lot  of  the  poor,  and  tells 
the  latest  disquieting  news.  But  Fleville  laugh- 
ingly tells  everybody  to  enjoy  themselves,  for 
apres  nous  le  deluge.  The  festivity  proceeds, 
and  during  its  continuance  Madeleine  begs 
Chenier,  the  poet,  to  compose  on  the  spot  a 
poem  glorifying  Love.  Chenier  does  so,  but  in 
the  course  of  it  draws  a  bitter  parallel  between 
wealth  and  poverty.  The  countess  animates  her 
guests  to  dance  and  forget  what  to-morrow  may 
have  in  store  for  them.  There  is  gay  dancing 
and  merry  jesting,  when  Gerard  breaks  in  upon 
the  scene  with  a  ragged  crowd.  The  countess 
orders  the  intruders  to  leave,  and  the  father  of 
Gerard,  an  old  and  attached  servant,  vainly 
urges  indulgence.  The  rabble  are  driven  out, 
and  the  ball  goes  on. 

The  second  act  is  at  the  Cafe  Hottot,  Paris. 
Bersi  and  a  spy  for  the  Jacobin  Club  are  at 
one  table,  and  Andre  Chenier  at  another.  A 
sansculotte,  by  name  Mathieu,  and  a  waiter  are 
in  attendance.  A  tumbril  with  the  day's  con- 
demned rumbles  heavily  past  on  its  way  to  the 
guillotine.  A  friend  of  Andre  Chenier,  Roucher, 
enters  and  implores  the  poet  to  take  flight,  hav- 
ing secured  for  him  a  passport  signed  by  the 
committee  of  safety.    The  poet,  however,  being 

595 


The  Standard  Operaglass 

engrossed  with  a  love  affair,  scorns  to  take  ad- 
vantage of  the  offer.  His  friend  earnestly  warns 
him  to  be  careful.  Kobespierre,  with  a  ragged 
throng  of  his  followers  behind  him,  passes  by 
in  the  street.  Gerard  enters  and  inquires  of  the 
spy  the  whereabouts  of  Madeleine.  Bersi  asks 
Chenier  to  await  the  coming  of  an  unknown 
lady  whom  she  calls  "  Speranza."  Chenier  de- 
cides to  wait.  Darkness  falls,  and  the  spy 
watches  in  the  shadows  until  Madeleine  enters, 
meeting  Chenier.  Then  he  recognizes  them 
and  runs  to  inform  Gerard.  Madeleine  asks 
Andre  to  save  her,  and  both  avow  their  love. 
When  on  the  point  of  flight  Gerard  stops  them, 
and  tries  to  spirit  away  Madeleine.  Eoucher 
takes  her  home.  There  is  a  duel  between  Andre 
and  Gerard,  and  when  the  latter  is  wounded  he 
begs  Andre  to  take  care  of  Madeleine.  The 
poet  becomes  a  fugitive,  and  a  mob  gathers  about 
the  wounded  Gerard,  demanding  to  know  the 
name  of  his  assailant,  but  he  pretends  ignorance. 
In  the  third  act  the  revolutionary  tribunal  is 
seen,  and  Mathieu  greets  the  mob  when  Gerard 
is  brought  in.  Gerard  makes  an  appeal  to  the 
mob.  An  old  woman,  Madelon,  pushes  her  way 
to  the  front,  and  presents  her  young  grandson 
to  the  country's  service.  The  spy  enters  and 
tells  Gerard  that  Andre  has  just  been  appre- 
hended and  that  Madeleine  is  close  by.    Gerard, 

596 


Andre  Chenier 

torn  by  a  conflict  of  feelings,  means  to  denounce 
Andre  to  the  revolutionary  tribunal,  but  finally 
refrains  from  doing  so.  Madeleine  comes  in, 
and  Gerard  declares  affection  for  her.  She 
tries  to  flee,  but  then  offers  her  honor  for 
Andre's  life.  Gerard  is  touched  by  her  grief 
and  unselfish  love,  and  promises  to  assist  her. 
The  judges  arrive,  and  Andre  is  brought  in 
to  face  instant  trial.  He  denies,  however,  the 
charge  and  offers  proof  of  the  contrary. 
Gerard  also  pleads  for  him,  but  the  bloodthirsty 
rabble  demand  his  head.  He  is  led  away  to 
prison. 

In  the  last  act  night  has  come,  and  Andre 
is  seen  in  prison.  He  writes  and  composes  a 
love  song.  Roucher  is  close  by,  and  a  touching 
farewell  scene  between  the  two  takes  place. 
Madeleine  enters  with  Gerard,  and  she  bribes 
the  guards  to  let  her  take  the  place  of  another 
woman  condemned  to  death  and  who  is  also  on 
the  list  of  that  day's  victims.  She  desires  to 
perish  together  with  Andre,  her  lover.  Her 
wish  is  gratified,  and  jointly  they  ascend  the 
scaffold. 


597 


The  Standard  Operaglass 
L'AMORE  MEDICO 

An  opera  bouffe  in  two  acts  by  E.  WOLF-FERRARI 

Book   founded  on  Moliere's  comedy   "  L'Amour  Medico," 
by  E.  GOLISCHIANI 

This  opera,  "  L'Amore  Medico  "  (Dr.  Cupid), 
saw  its  first  presentation  at  the  royal  opera 
house  in  Dresden,  1913.  The  scene  is  in 
France,  and  the  time  is  the  17th  century. 

The  first  act  occurs  at  the  villa  of  a  wealthy 
landowner.  Arnolfo,  a  very  selfish  father,  can- 
not explain  to  himself  his  daughter's  curious 
illness.  She  is  wasting  away,  and  the  doctor 
is  unable  to  fathom  the  reason.  To  prevent 
her  from  leaving  home  and  marrying,  he  is 
treating  her  as  a  child.  She  must  dress  in 
infantile  fashion,  and  he  addresses  her  in  the 
same  way,  presenting  dolls  and  toys,  and  even 
using  baby  talk  to  her.  The  daughter  is  list- 
less in  his  presence,  until  he  puts  to  her  the 
question  whether  some  young  gaby  has  found 
approval  in  her  eyes.  She  instantly  replies 
"  Yes,  papa  !  "  The  father  grows  angry  at 
this,  and  still  more  when  the  pert  maid,  Lisetta, 
joins  the  conversation  by  saying  that  what 
Lucinda,  the  daughter,  really  requires  to  cure 
her  is  a  husband.  Later  Clitandro,  the  young 
gallant  who  has  made  an  impression  on 
Lucinda's  heart,  |§  serenading  her  and  after  a 

598 


L'Amore  Medico 

song  in  which  he  ardently  confesses  his  love,  he 
throws  a  rose  through  the  window.  Lucinda 
is  so  overwhelmed  by  her  feelings  that  she  faints. 
Arnolfo  returns  and  there  is  a  monologue  in 
which  he  expresses  longing  for  the  time  when 
his  daughter  will  be  too  old  and  unattractive  to 
marry,  and  may  thus  devote  all  her  time  to  the 
nursing  of  her  father,  as  all  daughters  ought  to 
do.  He  falls  asleep,  but  is  awakened  by  out- 
cries from  his  child,  and  loud  demands  by 
Lisetta  for  a  doctor.  He  sends  her  forth  to 
get  doctors,  and  they  come  in  a  mass. 

The  second  act  exhibits  the  doctors  in  con- 
clave. At  first  they  behave  with  courtesy 
toward  one  another,  and  each  listens  to  the 
theory  of  the  other  as  to  the  causes  of  the 
young  girl's  illness.  But  soon  they  disagree, 
and  almost  come  to  blows.  Arnolfo  enters,  and 
the  four  physicians  deluge  him  with  Latin 
nonsense,  and  all  demand  a  fat  fee.  These  are 
paid  before  Arnolfo  remembers  that  with  all 
their  noise  they  have  not  told  him  what  was 
really  the  matter  with  his  child  and  what  treat- 
ment should  be  given  her.  But  just  at  that 
moment  Lisetta  comes  in,  having  Clitandro  with 
her,  who  is  disguised  in  the  long  wig  and  formal 
costume  of  a  physician.  The  new  doctor  pro- 
claims as  his  specialty  the  healing  of  sick  hearts. 
Arnolfo  watches  the  doctor,  who  seems  unneces- 

599 


The  Standard  Operaglass 

sarily  long  about  the  person  of  the  patient. 
The  final  diagnosis  is  that  Lucinda's  trouble  is 
mental.  As  she  merely  imagines  that  she  wants 
a  husband,  the  best  way  would  be  to  humor  her 
and  pretend  to  give  her  one.  Tor  that  pur- 
pose even  he,  the  doctor,  will  offer  him- 
self as  the  subject  of  an  experiment.  Arnolfo 
consents  to  enter  into  the  plan  and  promises, 
always  in  jest  only,  to  give  the  two  half  his  prop- 
erty. A  notary  is  called  and  draws  up  the 
settlements,  a  ceremony  is  performed,  and 
then  a  group  of  merrymakers  stream  in.  The 
father  becomes  too  late  aware  that  he  has  been 
the  victim  of  a  successful  practical  joke. 


APHRODITE 

Tragic  Opera  in  five  acts  by  CAMILLE  EELANGEE 

Text  after  Pierre  Louys'  romance  of  the  same  name  by 
LOUIS  DE  GRAMONT 

This  opera  was  first  performed  in  Paris,  1906, 
and  has  since  been  heard  everywhere.  The 
action  occurs  at  Alexandria,  Egypt,  in  B.  C.  50. 
The  scene  shifts  with  every  act,  and  the  setting 
requires  great  pageantry  and  much  gorgeous 
costume.  The  music  shows  originality  and 
most  of  it  is  decidedly  pleasing  in  character. 

In  the  first  act  throngs  are  gathered  upon  the 

600 


Aphrodite 

pier  of  Alexandria,  among  whom  may  be  dis- 
tinguished philosophers,  courtiers,  sailors,  beg- 
gars, wandering  traders,  gay  courtesans,  and  a 
rabble  of  the  merely  curious.  There  is  talk  of  a 
splendid  feast  to  be  given  by  Bacchis,  a  wealthy 
woman  of  the  town,  who  is  to  celebrate  in  that 
fashion  the  freeing  of  her  pet  slave  girl, 
Corinna.  A  flute  duet  is  being  played  by  Myrto 
and  Ehodis,  and  Theano  dances  publicly  to  its 
measure.  Demetrius  enters,  the  crowd  opening 
a  way  for  him.  He  is  a  famous  sculptor  whose 
latest  work,  an  entrancing  statue  of  Aphrodite, 
the  goddess  of  love,  has  recently  been  placed  in 
the  temple  devoted  to  her  cult.  Some  of  the 
courtesans  present, —  Musarion,  Seso,  Tryphera, 
and  Philotis, —  comment  on  the  haughty  ways 
of  Demetrius,  who  is  said  to  be  the  lover  of 
the  hour  of  Queen  Berenice. 

Then,  after  he  has  scorned  all  this  gabble,  the 
dreaded  sorceress  Chimairis  comes  on  the 
scene  and  pronounces  the  doom  of  Demetrius, 
saying  that  his  future  will  be  one  of  crime  and 
bloodshed.  The  death  of  two  women  will  be  on 
his  hands,  and  thereafter  his  own.  The  sculp- 
tor scoffs  at  the  prediction. 

When  the  throng  disperses,  a  noted  wanton, 
Chrysis,  passes  near  him.  He  is  struck  with 
her  exquisite  charms,  and  some  bantering 
dialogue  ensues.      Chrysis  refuses  his  gold  for 

601 


The  Standard  Operaglass 

her  favor,  saying  she  craves  but  three  things: 
a  miror,  a  necklace  and  a  comb,  in  exchange 
for  which  she  vows  to  render  the  giver  happy. 
Demetrius  takes  a  solemn  oath  that  he  will 
procure  the  three  gifts  for  her.  But  these 
three  things,  she  goes  on,  are  not  easy  to  obtain. 
For  the  mirror  is  the  famous  silver  one  of 
Ehodope,  the  one  that  Sappho  the  fair  once 
gazed  upon ;  the  comb  is  now  in  the  tresses  of 
the  spouse  of  the  high  priest;  and  the  necklace 
is  hung  in  seven  rows  of  matchless  pearls 
around  the  marble  neck  of  his  own  Aphrodite 
in  the  inmost  temple  hall.  But  nothing  daunts 
Demetrius.  He  swears  he  will  obtain  these 
fateful  objects  for  her  or  die  in  the  attempt. 
Chrysis  smiles  derisively,  but  pledges  the  de- 
lights of  the  gods  in  exchange  if  he  makes  his 
boasting  come  true. 

In  the  next  act  the  interior  of  the  temple  is 
seen.  Demetrius  has  possessed  himself  of  two 
of  the  desired  objects,  committing  murder  to  do 
so.  He  now  is  on  the  point  of  robbing  his  own 
handiwork,  the  statue  of  Aphrodite,  of  the 
coveted  necklace  when  temple  servants  enter 
and  drive  him  to  hiding.  The  high  priest 
makes  his  entrance  at  this  juncture,  with  a 
body  of  courtesans  in  his  train.  The  latter 
offer  sacrifice,  and  while  so  employed  Chrysis 
appears.      There  is  question  of  admitting  her, 

602 


Aphrodite 

since  she  is  only  part  Greek,  part  Jewess,  but 
the  high  priest  himself  takes  her  side,  and  she 
is  welcomed.  Chrysis,  too,  bears  priceless 
offerings  for  the  shrine  of  the  goddess,  among 
these  being  a  necklace  of  emeralds.  Demetrius 
unseen  witnesses  all  this,  and  the  sight  of 
Chrysis  inflames  him  with  wild  desire,  and  he 
renews  his  vow  to  despoil  the  goddess  of  the 
cherished  bauble. 

In  the  third  act,  the  one  replete  with  feverish 
action,  revelry  is  in  full  swing  at  the  house  of 
Bacchis.  Corinna  is  seated  next  to  her  mis- 
tress on  a  dai's.  Her  six  sisters,  likewise  slaves, 
are  intensely  jealous  of  the  honors  bestowed  on 
their  sister.  Chrysis  is  one  of  the  guests,  with 
Timon  beside  her,  but  she  is  dispirited. 
Theano  dances,  and  the  feast  waxes  furious  un- 
til the  theft  of  the  costly  mirror  is  accidentally 
discovered.  Chrysis  rejoices.  Bacchis  sus- 
pects Corinna  of  having  purloined  the  mirror, 
and  Corinna's  sisters  amplify  her  charges.  In 
a  rage  Bacchis  orders  Corinna  to  be  crucified, 
and  she  herself  helps  the  carrying  out  of  the 
sentence.  Chrysis  has  eyes  and  ears  for  noth- 
ing but  the  evidence  that  her  lover,  Demetrius, 
has  risked  much  for  her  favor.  The  banquet  is 
resumed,  while  Timon  stands  by  the  cross 
whereto  is  nailed  the  dying  Corinna  and  solaces 
her  last  moments. 

603 


The  Standard  Operaglass 

During  the  fourth  act  Demetrius  is  seen  in 
his  studio,  when  suddenly  shouts  of  the  multi- 
tude crying  "  sacrilege/'  pierce  the  distance. 
He  is  smitten  with  remorse  at  his  crimes,  when 
Chrysis  comes  forth  from  behind  the  screen, 
and  all  his  thoughts  turn  to  her.  He  puts  the 
three  coveted  objects  into  her  hands,  she  dis- 
robes and  adorns  herself  with  his  gifts,  and  the 
couple  forget  everything  else  in  their  passion. 
They  exchange  oaths  of  undying  affection,  and 
Chrysis  offers  to  prove  it  by  doing  even  more 
for  him  than  he  has  for  her.  She  swears  it 
by  the  living  God  of  Israel. 

In  the  last  act  a  maddened  crowd,  beside 
themselves  with  horror  at  the  sacrilege  com- 
mitted upon  the  goddess  Aphrodite,  and  dread- 
ing the  wrath  of  the  outraged  deity,  is  swaying 
to  and  fro  between  the  pier  and  Pharos.  That 
the  high  priest's  wife  has  been  cruelly  slain  for 
the  sake  of  her  marvelous  comb  becomes  known 
at  this  juncture.  The  throng,  wrought  to  the 
highest  pitch  of  excitement,  are  on  their  knees 
pleading  for  mercy  from  Aphrodite.  Suddenly, 
in  the  midst  of  their  despair,  they  perceive,  on 
top  of  the  first  landing  of  the  spiral  stairs  lead- 
ing up  to  the  tower  of  Pharos,  a  nude  woman 
of  ravishing  beauty,  wearing  the  mirror,  comb 
and  necklace  which  are  attributes  of  the  divine 
Aphrodite.      The   credulous  mob  leap  at  the 

604 


Ariane  Et  Barbe  Bleue 

conclusion  that  this  is  the  goddess  herself,  and 
Chrysis  (for  she  it  is  in  reality)  strengthens 
this  belief  by  shouting  down  from  her  eminence 
that  she  is  indeed  the  immortal  goddess. 
But  some  have  recognized  her,  and  instantly 
there  is  a  rush,  and  the  woman  is  cap- 
tured and  borne  by  a  furious,  fanatical  crowd 
to  the  prison,  there  to  await  the  awful  sentence 
for  her  sacrilegious  deception.  A  touching  jail 
scene  shows  Chrysis  ready  to  die.  The  Queen 
sends  her  the  fateful  hemlock  bowl  to  drink. 
Gradually  her  senses  are  benumbed,  but  she 
murmurs  the  words  "  Demetrius  "  and  "  love  " 
till  the  last,  while  Demetrius  himself  is  slain 
by  outraged  Love  in  a  vision. 


ARIANE  ET  BARBE  BLEUE 

Dramatic  Opera  in  three  acts  by  PAUL  DUKAS 

The  libretto  is  by  MAURICE  MAETERLINCK,  after  the 
well-known  tale  about  Bluebeard 

The  opera  was  first  seen  at  Paris,  1907.  The 
time  is  the  Middle  Ages,  and  the  scene,  a  strong 
castle.  Maeterlinck  has  here  added  a  tinge  of 
mysticism  to  the  fairy  tale,  Ariane  being,  in  a 
sense,  a  forerunner  of  the  modern  woman. 

At  the  castle  of  Bluebeard  a  great  uproar  is 
going    on.      As    the   curtain    rises   the    angry 

605 


The  Standard  Operaglass 

roar  of  the  maddened  crowd  outside  the  strong 
walls  is  heard.  This  is  because  the  news  has 
spread  that  the  evil  knight  has  again  succeeded 
in  inveigling  a  new  victim  into  his  possession. 
It  is  known  that  he  has  murdered  or  tortured 
to  death  five  previous  wives,  but  Ariane,  the 
latest  addition,  cannot  believe  these  popular 
rumors,  and  insists  on  finding  out  the  truth 
herself.  She  is  particularly  bound  to  learn  the 
secret  underlying  it  all,  for  secret  there  must 
be,  she  thinks.  Ariane  now  enters  with  the 
attendant,  carrying  with  her  seven  keys,  silver 
all  of  them,  save  the  last,  which  is  of  gold. 
And  it  is  the  last  which  opens  the  door  behind 
which  is  hidden  the  mystery  of  mysteries,  she 
has  been  told,  the  one  which  she  is  forbidden 
to  use  on  pain  of  her  life.  One  after  the  other 
these  six  less  important  keys  are  inserted  in 
the  locks,  and  as  the  threshold  of  each  door  is 
crossed  a  delightful  surprise  has  been  laid  bare, 
and  rarest  gems  have  been  found  to  ravish  the 
eye.  But  the  young  wife  is  not  gratified  by  all 
this  display.  She  conceives  it  to  be  her  duty 
and  her  woman's  privilege  to  bare  the  mysterious 
attractions  of  the  room  from  which  alone  she 
is  to  be  excluded.  The  nurse  in  her  wake  begs 
and  implores  her  to  desist,  but  Ariane  is  stub- 
born. Curiosity  piques  her  too  strongly.  So 
they  turn  the  golden  lock  with  the  golden  key, 

606 


Ariane  Et  Barbe  Bleue 

and  as  they  do  so  they  hear  from  afar  the  dis- 
tant groans  and  tearful  appeals  of  women. 
And  before  they  can  penetrate  further  or  close 
and  lock  once  more  the  portal  they  see  Blue- 
beard coming  in  very  coolly,  saying:  "Aha, 
you,  too ! ,;  Then  he  tells  Ariane  in  a  lenient 
voice  that  he  will  exonerate  her  trespass  if 
only  she  will  abandon  her  project  of  further 
inspection.  But  Ariane  is  unable  to  do  that. 
She  is  urged  on  by  a  power  stronger  even  than 
life,  and  she  bids  Bluebeard  defiance.  The 
knight  now  becomes  enraged,  and  tells  her  to 
follow  in  his  steps.  Her  faithful  attendant, 
however,  once  more  hearing  the  bellowing  throng 
outside  the  castle  gates,  rushes  off  and  lets  in 
the  rabble.  They  advance  upon  him,  but  he 
draws  his  sword  valiantly  and  prepares  to  sell 
his  life  dearly.  At  that  point  Ariane  herself 
becomes  the  advocate  of  her  husband,  swearing 
that  he  is  doing  her  no  harm,  and  thus  the 
crowd  withdraws. 

In  the  second  act  there  is  an  underground 
chamber,  and  Ariane  and  her  faithful  nurse 
have  been  left  in  a  secret  vault  close  by  the 
seventh  room,  the  forbidden  one,  and  still  per- 
sist in  their  desire  to  investigate  it.  Ariane 
is  convinced  that  those  previous  wives  have  not 
been  murdered  at  all,  but  are  merely  kept 
prisoners.      They  have  with  them  an  ancient 

607 


The  Standard  Operaglass 

flickering  lamp,  and  by  its  uncertain  glare  they 
see  upon  the  floor  of  their  dungeon,  huddled  in 
strange  shapes,  the  shadowy  forms  of  women. 
These,  they  discover,  are  really  the  previous 
five  wives,  not  dead,  but  leading  a  wretched  and 
cramped  existence.  So  Ariane  attempts  to 
hearten  them,  and  in  trying  to  find  some  means 
of  rescuing  them,  she  sees  at  the  far  end  of  the 
gloomy  room,  the  lamp  having  gone  out,  a  faint 
glimmer  of  dawning  light,  and  when  they  all 
turn  thither,  they  become  aware  that  it  comes 
from  a  gate  that  has  stood  always  open,  by 
passing  which  they  all  of  them  are  at  large, 
and  may  issue  into  the  wide  realms  of  the 
world. 

In  the  third  act  there  is  again  the  great  hall 
of  the  castle.  It  turns  out  that  the  grounds 
surrounding  the  castle  as  well  as  the  latter  are 
enchanted,  so  that,  after  all,  the  wives  cannot 
escape  from  its  thrall.  So  they  have  turned 
back  to  the  hall,  where  they  find  richest  finery 
in  great  assortment,  and  they  are  all  donning  it 
by  turns,  simply  to  amuse  themselves  and  while 
away  time  which  is  hanging  heavily  on  their 
hands.  Ariane  is  instructing  the  five  wives  how 
to  win  back  their  lost  beauty,  not  only  by  dress- 
ing gaily,  but  by  fresh  air  and  exercise.  The 
nurse  comes  to  warn  the  women  that  Bluebeard 
is  on  his  way  back,  and  that  the  villagers  are 

608 


Ariane  Et  Barbe  Bleue 

threatening  to  kill  him.  The  fight  takes  place, 
and  Bluebeard  is  defeated,  together  with  his 
strong  bodyguard,  and  is  wounded  grievously. 
The  crowd  are  on  the  point  of  drowning  him 
in  the  deep  moat  of  the  castle,  having  manacled 
him,  but  Ariane  and  the  other  wives  interpose. 
Ariane  in  addressing  the  crowd  dwells  on  the 
fact  that  it  is  she  who  is  the  most  concerned  in 
the  whole  business,  and  she  induces  them  to  carry 
Bluebeard  into  the  hall  of  the  castle,  where  she 
cuts  his  bonds,  and  next  dresses  his  injuries. 
The  throng  leave  her  in  undisputed  possession 
of  the  field.  Bluebeard,  whose  wounds  are  not 
very  serious,  now  rises  and  gazes  by  turns  at 
this  and  that  one  of  the  wives,  but  he  has  no 
more  any  desire  to  molest  them.  Ariane  says 
farewell  to  him,  and  states  that  now  her  mis- 
sion is  over  and  that  she  must  go  away.  Blue- 
beard regrets  this,  and  in  answer  confesses  his 
love  and  admiration  for  her.  But  Ariane 
smilingly  does  not  respond  to  his  pleading. 
The  other  five  wives  are  told  they  may  have 
their  freedom  if  they  so  choose.  But  they, 
after  consultation,  declare  their  decision  to  stay 
with  Bluebeard. 


609 


The  Standard  Operaglass 

L'ATTAQUE  DU  MOULIN 

A  four-act  Opera,  music  by  C.  BRTJNEAU 
Text  founded  on  a  story  by  A.  DATJDET 

The  first  performance  of  this  work  took  place 
in  Paris,  1893.  It  is  of  a  patriotic  nature,  and 
has  enjoyed  popularity  in  France. 

The  scene  of  the  first  act  is  laid  in  the  mill 
of  Father  Merlier,  shortly  before  the  outbreak 
of  the  war  of  1870-71.  The  housekeeper,  Mar- 
celline,  is  making  great  preparations  in  order 
to  celebrate  the  formal  engagement  of  Merlier's 
daughter,  Franchette,  to  her  young  lover, 
Dominic.  Old  Merlier  has  become  reconciled 
to  the  match,  although  at  first  he  was  strongly 
opposed  to  it.  He  indulges  in  pleasant  specu- 
lation as  to  the  prospective  new  management  of 
the  mill  by  the  young  couple.  Swarms  of 
guests  are  arriving,  and  all  of  them  give  joy 
to  the  lovers.  Dancing  is  begun,  and  toasts  to 
the  happy  couple  are  being  proposed  when  a 
drum  is  heard.  It  is  officially  declared  that  war 
has  commenced,  whereupon  the  guests  disperse 
in  affright. 

The  second  act  happens  but  one  month  there- 
after. It  is  the  very  day  when  the  wedding  of 
Franchette  and  Dominic  was  to  be  celebrated, 
but  instead  fighting  is  going  on  around  the 
mill.      A  detachment  of  French  soldiers  have 

610 


L'Attaque  Du  Moulin 

occupied  the  mill,  and  the  Prussians  are  attack- 
ing it  from  without.  Merlier,  the  miller,  has 
been  wounded  while  defending  his  homestead. 
Dominic,  a  skilled  marksman,  has  scored  many 
a  hit.  After  a  brave  defense  the  French  cap- 
tain orders  his  men  to  retreat  by  way  of  the 
near-by  forest.  They  go  off  in  that  direction. 
Franchette  comes  in  with  a  knife  in  her 
hands.  She  explains  that  she  carries  it  for 
self-protection.  The  Prussian  troops  now  take 
possession  of  the  mill.  Their  commander 
wants  to  know  why  Dominic  has  not  gone  with 
his  company.  Dominic  in  reply  says  he  is  not 
a  Frenchman  and  did  not  belong  to  the  com- 
pany. He  says  he  is  Flemish,  and  only  fought 
out  of  friendship  for  the  family.  Whereupon 
the  Prussian  captain,  saying  that  he  is  a  free- 
booter, declares  his  life  forfeit  and  orders  him 
shot  for  joining  in  the  fight,  but  offers  to 
pardon  him  if  he  will  lead  the  Prussian  troops 
through  the  woods.  Dominic  indignantly  re- 
fuses. Alone  in  prison  Dominic  in  a  moving 
song  bids  farewell  to  life  and  home.  Fran- 
chette, climbing  to  his  window,  points  out  to 
him  a  way  of  escape  and  gives  him  the 
details. 

In  the  third  act  Dominic,  after  climbing  out 
of  his  window,  is  discovered  by  the  sentry, 
whom  in  the  ensuing  scuffle  he  stabs  and  mor- 

611 


The  Standard  Operaglass 

tally  wounds.  He  has  used  Franchette's 
knife  in  doing  so,  and  has  dropped  that 
before  he  escapes.  Soldiers  rush  in  and 
make  Merlier  and  his  daughter  prisoners.  Mer- 
lier  is  held  responsible  for  the  murder  of  the 
sentry.  Although  the  miller  knows  the  hiding 
place  of  Dominic,  his  future  son-in-law,  he  re- 
solves not  to  give  up  the  latter  to  the  enemy, 
as  has  been  demanded,  and  rather  to  suffer  the 
death  penalty  himself  in  order  not  to  destroy 
Franchette's  happiness.  He  informs  the  Prus- 
sian commanding  officer  that  he  is  ready  to 
undergo  the  full  penalty.  Franchette  is  unable 
to  bear  the  strain  and  falls  unconscious  to  the 
ground. 

The  fourth  act  opens  again  in  the  place  be- 
fore the  mill.  It  is  dawn.  Marcelline,  the 
housekeeper,  looks  about  her  and  notes  the 
Prussians  wrapped  in  slumber.  Franchette 
appears,  and  a  trumpet  signal  is  heard  telling 
of  an  approaching  body  of  French  soldiers. 
Dominic  steals  into  the  yard  in  disguise.  He 
has  wandered  about  the  woods  all  night,  un- 
quiet regarding  the  fate  of  his  friends.  His 
sweetheart  dares  not  tell  him  the  truth.  Just 
then  Merlier  and  the  Prussian  captain  enter, 
and  Merlier,  in  an  aside,  implores  his  daughter 
not  to  reveal  the  facts,  for  fear  that  Dominic 
will  spoil  his  plan.      So  they  all  purposely  mis- 

612 


L'Aube  Rouge 

lead  Dominic.  He  thinks  all  is  well.  French 
bugles  are  heard  again,  and  Merlier,  in  order 
to  save  at  least  his  daughter  and  her  betrothed, 
orders  Dominic  to  run  and  advise  the  approach- 
ing French  troops  to  come  to  the  rescue.  He 
bids  farewell  to  his  daughter,  reminding  her  of 
happy  days.  Franchette  thinks  the  Prussian 
captain  has  relented,  and  is  calmed.  The 
French  soldiers  appear  at  the  same  time  as  the 
Prussians,  and  just  when  the  mill  and  its  in- 
habitants seem  safe  at  last,  the  Prussian  com- 
mander gives  orders  to  shoot  Merlier,  who  falls 
riddled  with  bullets. 


L'AUBE  KOUGE 

Tragic  Opera  in  two  acts  by  CAMILLE  ERLANGER 
Text  by  M.  MARCON 

This  opera  had  its  premiere  at  Eouen,  in 
1912. 

Act  I.  Olga  is  informed  by  her  father,  a  Rus- 
sian general  named  Lavaroff,  that  her  lover 
Serge,  a  Nihilist,  is  dead  in  Siberia.  Her 
father  urges  her  to  marry  a  famous  French 
surgeon,  M.  Ruys.  But  Serge  appears  at  the 
wedding  supper,  and  Olga  flees  with  him  to  the 
haunts  of  the  Nihilists  in  the  Quartier  Latin, 
Paris.     There  Serge  and  she  devote  themselves 

613 


The  Standard  Operaglass 

with  great  enthusiasm  to  the  "  cause."  Serge 
is  chosen  by  his  comrades  to  throw  a  bomb  at  a 
reactionary  Eussian  diplomat  visiting  Paris. 
The  struggle  in  his  soul  between  his  love  for 
Olga  and  his  devotion  to  his  fellows  is  great,  and 
he  hesitates.  His  comrades,  deeming  him  a 
traitor,  sentence  him  to  death.  But  the  shot 
merely  inflicts  a  severe  wound,  and  he  is  taken 
to  the  hospital.  When  he  wakes  there  from 
his  narcotic  slumber  he  finds  he  has  been  saved 
by  the  skill  of  his  rival,  the  famous  surgeon 
Ruys.  Feeling  conscious,  however,  of  his  duty 
to  his  mates  he  throws  the  bomb  and  is  killed  in 
the  explosion.  His  sweetheart  Olga  becomes 
insane. 


BORIS  GODOUNOV 

A    Russian    Tragic   Opera,   in   a   prologue   and   four 
acts.     Music  by  M.  P.  MOUSSORGSKY 

Libretto  founded  on  PUSHKIN  and  KARAMZIN'S  great 

historical  drama  of  the  same  name,  written  by 

the  composer 

The  first  performance  of  this  work  was  at 

Petrograd,  in  1874.     The  scene  is  in  Moscow, 

partly  on  the  frontiers  of  Poland,  between  1598 

and    1605,    the    time    of    the    usurper,    Boris 

Godounov.       The    music    is    characteristically 

Slavic. 

614 


Boris  Godounov 

In  the  prologue  a  vast  concourse  of  people  is 
seen  in  the  interior  of  a  monastery  near  Mos- 
cow, where  Boris  Godounov,  although  voices 
are  whispering  against  him,  is  proclaimed  czar 
of  Russia.  Boris,  being  appointed  guardian  of 
the  minor  children  of  Czar  Ivan  the  Terrible, 
has  caused  the  young  heir  to  the  throne,  Dmitri, 
to  be  foully  murdered,  in  order  to  become  ruler 
himself.  His  coronation  at  the  Kremlin  is 
celebrated  with  great  rejoicing  on  the  part  of 
the  people. 

Act  I  is  in  a  cell  of  the  Monastery  of  the 
Miracle,  where  the  pious  monk,  Pimen,  is  labori- 
ously writing  a  history  of  Russia.  This  he 
does  with  the  fervid  desire  to  tell  the  un- 
varnished truth,  so  that  "  he  may  not  be 
ashamed  "  when  God  himself  reads  it.  There 
is  with  him  in  the  cell  a  youth  named  Gregory, 
his  features,  his  age  and  his  general  appearance 
presenting  a  great  resemblance  to  the  murdered 
Dmitri.  The  monk  Pimen  comments  on  this 
and  tells  the  youth  the  circumstances  of 
Dmitri's  death  and  also  other  facts  in  con- 
nection with  it.  Gregory  is  much  struck 
with  the  tale.  Later  on  Gregory,  disguised, 
escapes  over  the  Russian  border,  being  in 
great  danger  of  arrest  by  the  guards  of  Boris 
Godounov,  as  he  is  pursued  for  having  escaped 
from  the  monastery  with  the  intention  of  per- 

615 


The  Standard  Operaglass 

sonating  the  vanished  heir  to  the  throne, 
Dmitri.  Warrants  are  out  for  Gregory's  ap- 
prehension, but  he  escapes. 

In  the  second  act  the  apartments  at  the 
Kremlin  are  seen,  with  the  son,  Feodor,  and  the 
daughter,  Xenia,  of  the  usurper.  The  latter 
enters,  caresses  his  children,  and  then  sits 
down  to  brood  over  his  cares  and  fears.  A  war 
with  Poland  is  threatening,  and  a  party  of  his 
own  nobles  are  plotting  a  rebellion.  Prince 
Shouisky  enters,  seeking  audience  with  the  czar, 
who  grants  it  reluctantly.  Shouisky  then  tells 
about  the  rising  of  a  pretender  against  Boris, 
and  the  latter  in  his  fears  and  doubts  asks 
Shouisky  whether  he  really  carried  out  the  order 
to  put  Dmitri  out  of  the  way.  Prince  Shouisky 
relates  all  the  grewsome  details  of  the  death  of 
Dmitri,  and  convinces  the  usurper  that  he 
speaks  the  truth.  But  at  the  same  time  he 
gives  the  czar  facts  about  the  danger  threaten- 
ing from  the  pretender  (Gregory),  who  has  ob- 
tained the  support  of  the  Poles  and  is 
on  the  point  of  enforcing  his  claims.  Boris 
is  harried  by  the  torments  of  his  conscience 
and  fears. 

The  third  act  opens  in  the  apartments  of 
Marina  Mnichek  in  Poland,  where  a  Jesuit 
priest  influences  her  to  use  all  her  charms  to 
beguile    Dmitri     (Gregory),    to    help    in    the 

616 


Boris  Godounov 

plot  of  unseating  Boris,  and  to  seize  the  supreme 
power  for  the  Polish  pretender  to  the  Bussian 
throne.  Dmitri  overhears  the  plans  of  the 
Polish  nohles.  Marina  later  inflames  Gregory's 
ambition  that  he  may  become  a  pliant  tool  in 
the  hands  of  the  Polish  plotters.  It  is  resolved 
to  march,  with  a  Polish  army,  to  Moscow,  oust 
Boris,  and  crown  Gregory  (as  the  false  Dmitri) 
instead. 

The  last  act  takes  us  to  Krom,  where  there 
is  a  rebellion  of  the  peasants  against  the  usurp- 
ing czar  and  his  adherents.  Gregory  (Dmitri) 
comes  on  the  scene  with  a  body  of  troops  sup- 
porting him,  and  they  acclaim  him  ruler  of 
Russia.  Meanwhile  in  the  Kremlin  a  council 
of  the  nobles  is  in  deliberation  as  to  how  to 
defeat  the  pretender  and  crush  the  uprising  of 
the  people.  Shouisky  enters  and  brings  dreary 
news  about  Boris,  who  is  haunted  by  spectres. 
While  still  reporting  this  Boris  comes  in,  under 
the  complete  spell  of  visions.  Voices  are  whis- 
pering to  him :  "  Thou  art  a  murderer !  " 
Boris  recovers,  but  soon  after  an  old  monk  begs 
for  an  audience,  and  the  monk  historian, 
Pimen,  enters,  and  relates  the  story  of  a  miracle 
in  which  Dmitri  appeared  to  an  old  shepherd. 
At  the  end  of  the  tale  Boris  loses  his  senses,  but 
comes  once  more  to  himself,  and  gives  tearful 
advice  to  his  son  and  heir,  when  he  expires. 

617 


The  Standard  Operaglass 

THE  BOHEMIAN"  GIEL 

Opera  in  three  acts.    Music  by  M.  W.  BALFE 
Text  by  ALFRED  BUNN,  founded  on  "  The  Gypsy,"  by 

ST.  GEORGES  and  MARZILLIER 

This  English  sentimental  opera,  one  of  the 
earliest  successful  ones,  was  originally  produced 
in  London,  1843.  The  romantic  plot  has  its 
scene  laid  in  Hungary,  the  time  being  the  18th 
century.  This  operatic  work  is  one  of  the  most 
tuneful,  although  florid  in  style. 

Count  Arnheim,  the  imperial  governor  of 
Pressburg,  Hungary,  in  the  first  act  has  in  his 
palace  assembled  a  vast  number  of  nobles,  re- 
tainers and  servants  for  the  chase.  Not  far 
away,  on  the  banks  of  the  Danube,  a  statue  of 
the  emperor  is  being  unveiled  with  impressive 
ceremonies,  the  Austrian  flag  being  raised. 
Count  Arnheim  and  his  nephew,  Florestan, 
enter,  and  Arline,  his  little  daughter,  is  being 
affectionately  greeted  by  him.  They  all  leave 
together,  and  the  place  before  the  castle  is 
empty,  when  Thaddeus,  a  Polish  nobleman  in 
exile,  rushes  forth,  and  perceiving  the  statue 
of  the  emperor,  he  becomes  aware  that  he  is 
still  in  danger  of  discovery  and  death,  and  looks 
about  for  means  of  disguising  himself.  A 
wandering  band  of  gypsies  opportunely  puts  in 
an  appearance,  and  their  leader,  Devilshoof, 
is  spoken  to  by  Thaddeus,  who  implores'  his 

618 


The  Bohemian  Girl 

help.  He  promises  Thaddeus  immediate  assist- 
ance, puts  him  in  gypsy  garb,  and  makes  him 
join  the  band.  The  pursuing  soldiery  are  thrown 
off  the  right  track,  and  the  Pole  goes  off  with 
the  gypsies.  Meanwhile  Arline  and  her  attendant 
have  been  attacked  by  some  wild  beast  that  was 
being  pursued  by  the  Count's  huntsmen,  and  a 
fear  is  entertained  that  she  may  have  been 
killed.  Florestan  has  fled  from  the  onslaught 
of  the  quarry,  and  Thaddeus,  coming  upon  him 
in  the  deep  woods,  and  hearing  the  latter's  tale, 
wrests  the  weapon  from  his  grasp,  and  hastens 
to  the  defense  of  the  child.  While  everybody 
is  still  searching  for  the  Count's  little  daughter, 
Thaddeus  returns  with  her  in  safety.  In  recog- 
nition of  his  services  the  father  thanks  him  and 
invites  him  to  a  banquet  at  the  castle.  Thad- 
deus, being  urged,  finally  accepts.  During  the 
meal  a  toast  is  being  drunk  to  the  emperor,  but 
the  Pole  haughtily  declines  to  do  so,  splashing 
the  contents  of  his  goblet  at  the  statue  of  the 
monarch.  Count  Arnheim,  remembers  that 
Thaddeus  is  the  savior  of  little  Arline,  forgives 
him,  throws  him  a  purse  of  gold  for  his  re- 
ward, and  bids  him  begone.  The  nobles 
present  are  about  to  seize  the  hot-headed  Pole, 
when  Devilshoof  comes  on  the  scene,  threaten- 
ing those  who  wish  to  harm  the  man  he  has 
taken  under  his  protection. 

619 


The  Standard  Operaglass 

Devilshoof,  thereupon,  himself  is  over- 
powered and  cast  into  a  dungeon,  while  Thad- 
deus  is  permitted  to  leave  unharmed.  But  a 
short  while  after  the  word  comes  that  Arline, 
left  for  a  few  moments  to  herself  in  her  room, 
has  vanished,  and  on  search  being  made  it  is  seen 
that  the  gypsy  chief  has  escaped  from  his  cell. 
He  is  seen  by  his  pursuers  climbing  a  steep 
mountain  path,  holding  the  girl  in  his  arms. 
He  eludes  the  retainers  of  the  Count,  by 
fleeing  into  the  woods  across  a  fallen  tree 
trunk,  and  casting  it  behind  him  down  the 
chasm. 

Twelve  years  are  supposed  to  have  elapsed, 
and  Arline  is  next  seen  asleep  in  the  tent  of  the 
gypsy  queen,  Thaddeus  guarding  them,  while 
the  band  are  off  on  a  nocturnal  venture. 
Florestan,  nephew  of  the  Count,  is  robbed  by 
the  gypsies  when  returning  from  a  drinking 
bout,  and  is  despoiled  of  all  his  valuables. 
Count  Arnheim  is  still  mourning  his  daughter 
for  lost  or  dead,  never  having  been  able  in  all 
that  time  to  trace  her.  The  gypsy  queen,  how- 
ever, has  Florestan  summoned  before  her,  and 
returns  all  his  stolen  property  to  him,  save 
a  gem-encrusted  locket,  Devilshoof  having 
secreted  that  without  her  knowledge.  There 
follows  a  scene  in  which  Thaddeus  declares  his 
love  for  Arline,  the  latter  having  now  become 

620 


The  Bohemian  Girl 

a  very  lovely  young  woman.  They  exchange 
vows,  and  he  tells  her  of  the  adventure  years 
before,  when  he  rescued  her  from  death,  but 
he  does  not  disclose  her  real  identity.  Then,  at 
fair  time,  in  Pressburg,  Count  Arnheim  and  his 
nephew  are  accidentally  observing  a  group  of 
gypsies,  and  Florestan  falls  in  love  with 
Arline's  beauty.  Later  on  he  makes  advances 
to  her,  but  the  girl  spurns  him.  The  gypsy 
queen  artfully  praises  her  for  her  independence 
of  spirit,  and  adorns  her  with  the  locket  as  a 
reward.  Florestan,  angered  at  his  being  re- 
pulsed, causes  the  arrest  of  both  Arline  and 
Thaddeus,  who  had  vigorously  interfered  with 
Florestan's  pretensions. 

In  the  justice  hall  of  his  palace  is  the  Count, 
indulging  in  sad  reminiscences  of  his  vanished 
child.  Just  then  Arline  is  brought  before  him 
on  the  charge  of  theft.  The  girl  only  now  sees 
through  the  perfidy  of  the  gypsy  queen  who,  out 
of  revenge  for  the  preference  shown  by  Thad- 
deus for  Arline,  instead  of  herself,  has  resorted 
to  the  ruse  of  decking  her  rival  in  stolen  jewels. 
Arline  too  late  discovers  that  she  had  no  de- 
fense to  make  against  the  accusation,  and  in 
despair  tries  to  stab  herself.  The  Count  stops 
her  hand,  and  in  doing  so  sees  the  tell-tale  scar 
upon  his  daughter's  wrist.  Thaddeus,  having 
just    recovered   his    liberty,    impressively    con- 

621 


The  Standard  Operaglass 

firms  the  girl's  own  stor}',  and  he  and  Devils- 
hoof  disappear  during  a  scene  of  general  re- 
joicing. 

The  third  and  last  act  shows  Arline  in  the 
great  hall  of  her  father's  palace,  awaiting  the 
guests  to  whom  her  father  wants  to  introduce 
her.  Florestan  and  her  father  join  her,  and 
Florestan  once  more  asks  her  hand  in  marriage. 
But  Arline  rejects  him,  treasuring  in  her  heart 
Thaddeus  as  her  lover,  even  refusing  her  father 
when  the  latter  seconds  his  nephew's  suit. 
Thaddeus  and  Devilshoof  enter  the  castle  sur- 
reptitiously, and  urge  her  to  follow  them  and 
again  join  the  gypsy  band.  Arline  regret- 
fully recalls  all  the  happiness  she  enjoyed  while 
roving  with  the  gypsies,  but  she  delays  her  de- 
cision so  long  that  guests  are  approaching. 
Devilshoof  takes  flight,  and  Thaddeus  is  forced 
to  hide.  Meanwhile  the  gypsy  queen  has  clan- 
destinely followed  these  two,  being  still  ani- 
mated with  vengeful  feelings  because  of  being 
scorned  by  Thaddeus,  and  now  enters  the  castle 
and  announces  to  Count  Arnheim  that  his 
daughter  is  concealing  a  lover  in  her  chamber. 
The  angry  father  charges  his  daughter  with  this 
when  Thaddeus  steps  forth  from  hiding  and 
boldly  confesses  his  passion  for  Arline.  The 
Count  orders  him  to  leave  instantly,  but  Arline 
threatens  to  follow  him;  and  when  it  is  later 

622 


The  Cavalier  of  the  Rose 

proven  that  Thaddeus  himself  comes  of  noble 
family,  and  can  show  his  patent  of  nobility,  the 
father  relents.  The  marriage  takes  place  with 
great  solemnity.  The  gypsy  queen,  however, 
thirsting  for  revenge  and  having  been  so  far 
baffled  in  all  her  schemes,  hires  an  assassin  from 
amongst  her  band,  to  murder  Thaddeus. 
Devilshoof,  though,  succeeds  in  turning  aside 
the  weapon,  so  that  the  queen  herself  becomes 
the  victim  of  her  own  murderous  plot. 


THE  CAVALIER  OF  THE  EOSE 

Comic    Grand    Opera    in    three    acts    by   RICHARD 
STRAUSS 

Book  by  HUGO  VON  HOFFMANNSTHAL 

This  work  was  first  heard  in  Dresden,  in 
1911.  The  scene  is  laid  in  Vienna,  in  the  time 
of  Empress  Maria  Theresa. 

The  first  act  shows  the  drawing  rooms  of  the 
Princess  von  "Werdenberg.  Her  husband  is 
conveniently  absent  on  a  trip  to  Arabia,  hunt- 
ing wild  beasts,  and  the  inconsolable  spouse 
meanwhile  is  trying  to  make  up  for  her  loss  by 
splendidly  entertaining  a  young  cavalier,  the 
Count  Octaviano  Rofrano.  While  he  is  pay- 
ing her  fulsome  compliments  and  maintaining  a 
love-lorn  attitude,  she  is  Only  too  conscious  of 

623 


The  Standard  Operaglass 

her  own  dwindling  attractions.  Loud  and  im- 
portunate ringing  at  the  house  bell  frightens 
the  princess,  who  suspects  a  too  early  return  of 
her  lord.  The  count  finds  a  ready  way  out  of 
the  embarrassing  situation.  He  hastily  dons 
the  garments  of  the  coquettish  chambermaid, 
and  then  opens  the  door  himself.  It  is  only  a 
cousin  of  the  princess  from  the  provinces,  Baron 
Ochs  von  Lerchenau,  who  comes  to  ask  his-  rela- 
tive for  advice  in  an  important  venture.  His 
aim  is  to  wed  Sophie,  the  daughter  of  a  wealthy 
army  contractor,  or  rather  her  fat  dowry.  This 
wooer,  puffed  up  with  self-importance,  shallow 
and  vain,  confesses  outright  that  the  bride-to-be 
does  not  matter  to  him,  but  solely  her  money. 
To  open  his  campaign  as  a  suitor  for  the  young 
lady's  hand,  he  proposes  to  send  to  her  a  per- 
sonal representative  with  a  rose  fashioned  of 
silver,  as  a  time-honored  emblem  of  his  earnest 
intentions.  And  he  desires  the  princess  to  tell 
him  whom  to  send  as  a  trusty  messenger. 
Luncheon  is  served,  of  which  both  he  and  the 
princess  partake,  waited  on  during  the  meal  by 
Octaviano  in  his  role  as  maid.  The  baron  is 
condescending  enough  to  be  smitten  with  the 
fascinations  of  this  supposed  waitress,  and 
makes  an  appointment  to  meet  her,  or  rather 
him.  This  angers  the  princess'  notions  of  de- 
corum, and  in  a  spirit  of  spite  she  suggests 

624 


The  Cavalier  of  the  Rose 

Octaviano  for  the  part  of  cavalier  of  the  rose. 
This  suits  the  baron.  He  goes  away,  and  the 
princess,  left  by  herself,  sees  a  number  of  per- 
sons, needy  and  otherwise.  Incidentally  she 
once  more  consults  her  mirror  as  to  whether 
she  has  not  made  a  mistake  in  recommending 
Octaviano  for  the  bearer  of  the  baron's  message, 
for  she  fears  thereby  to  lose  control  of  him. 

The  army  contractor's  luxurious  apartments 
are  the  scene  of  the  second  act.  Octaviano  ap- 
pears, solemn  as  a  high  priest,  with  the  silver 
rose  for  Sophie.  Her  father,  Faninal  by  name, 
is  intensely  flattered  at  the  prospect  of  intimate 
connections  with  the  higher  nobility.  But 
Octaviano  is  gTeatly  impressed  with  the  girl 
herself,  and  resolves  to  outdo  the  foolish  old 
baron.  Sophie  on  her  part  also  likes  him 
very  much  and  feels  a  strong  aversion  to 
the  baron  when  she  meets  him  a  little 
later.  The  baron  leaves,  and  Octaviano  is 
left  alone  for  a  short  while  with  Sophie. 
He  makes  good  use  of  his  opportunity,  and  the 
two  spying  servants  in  the  pay  of  the  baron 
report  these  facts  to  the  latter.  A  lively  dis- 
cussion between  Octaviano  and  the  baron  fol- 
lows, in  which  that  worthy  is  practically  told 
that  he  is  an  idiot  and  unworthy  of  such  a 
phenix  as  Sophie.  At  this  they  draw  their 
swords,  and  fall  to.      The  baron,  as  great  a 

625 


The  Standard  Operaglass 

poltroon  as  he  is  an  absurd  wooer,  is  slightly 
wounded  and  cries  out  in  pain.  There  is  an 
uproar  and  Sophie's  father  comes  on  the  scene. 
He  comrrfands  his  daughter  to  accept  the  baron 
for  a  husband,  or  else  to  go  to  a  nunnery  for 
life.  The  baron  at  this  awakes  from  his  swoon, 
especially  as  he  remembers  his  appointment 
with  the  fictitious  maid. 

In  act  three  Octaviano  is  seen  hurrying  to  a 
hotel  in  a  secluded  part  of  the  city,  wearing  a 
maid's  costume  over  his  own  clothes.  He  has 
bribed  some  of  the  baron's  servants  to  aid  him 
in  duping  their  master.  Everything  has  been 
provided  by  the  baron  to  capture  the  coy  maid, 
as  he  supposes.  There  is  a  table  laden  with 
delicacies,  gay  music,  choice  wines,  and  a  cloud 
of  menials  to  carry  out  every  one  of  his  desires. 
But  the  flirting  with  the  "maid"  lags.  The 
baron  is  irritated.  Besides,  the  apartment  seems 
to  be  haunted.  Furious  at  meeting  with  this  cold 
reception,  he  is  beside  himself  when  suddenly 
there  enters  the  official  Guardian  of  Good 
Morals,  and  forthwith  proceeds  to  demand  the 
"  maid's "  name  and  business.  The  baron 
vouches  for  his  guest  as  Sophie,  his  betrothed. 
But  the  latter,  informed  in  advance  of  what  is 
going  on,  here  enters  with  her  father,  and  a 
complete  exposure  ensues.  The  baron  becomes 
the  butt  of  all  when  the  maid  slips  off  her  outer 

626 


Cendrillon 

costume  and  stands  revealed  as  Octaviano.  Of 
course,  Octaviano  now  becomes  the  accepted 
lover  of  Sophie  with  her  father's  consent. 


CEXDRILLOX  (Cinderella) 

Fairy  Opera  in  four  acts  by  J.  MASSENET 
Text  based  on  a  French  collection  of  fairy  tales 

Initial  performance  in  Paris,  1899. 

Act  I.  Shows  Cendrillon  at  the  home  of  her 
stepmother,  Mme.  Haltiere,  who  with  her  two 
daughters  is  treating  Cendrillon  abominably. 
While  the  three  are  making  elaborate  prepara- 
tions to  attend  a  splendid  court  ball,  Cendrillon 
is  told  to  stay  at  home  and  mind  the  household. 
She  is  sitting  before  the  hearth  dreaming  of 
future  happiness,  when  her  godmother,  a  benevo- 
lent fairy,  makes  her  appearance.  She  brings 
magnificent  garments  with  her,  together  with 
a  marvelously  small  pair  of  slippers,  and  these 
fit  as  only  fairy  slippers  ever  do.  Poor  Cen- 
drillon rapidly  dons  all,  and  the  fairy  tells  her 
she  may  go  to  the  ball  herself,  but  must  leave 
there  promptly  at  twelve,  unless  evil  is  to  befall 
her.  A  splendid  glass  coach  and  six  are  wait- 
ing, and  she  drives  off  with  attendants  in  full 

livery. 

627 


The  Standard  Operaglass 

Act  II.  Meanwhile  the  stepmother  is  vainly 
plying  all  her  arts  to  make  the  host,  Prince 
Charming,  fall  in  love  with  one  of  her  own 
daughters,  but  the  prince  pays  no  attention  to 
either  of  them.  Cendrillon  enters,  quite  un- 
recognizable in  her  magnificent  attire,  and 
creates  an  enormous  sensation.  The  prince  is 
instantly  bewitched  by  her  charms,  and  devotes 
his  attentions  to  her  exclusively.  It  is  a  case 
of  love  at  first  sight,  both  for  him  and  her. 
Time  flies,  and  before  Cendrillon  realizes  it, 
midnight  strikes.  She  swiftly  runs  to  the  fairy 
coach  that  is  waiting  for  her,  but  in  her  haste 
she  loses  one  of  her  slippers. 

Act  III.  The  next  day  things  at  the  house 
of  Mme.  Haltiere  are  rather  uncomfortable. 
She  herself  is  furious  at  the  success  of  her  step- 
daughter, and  she  upbraids  her  husband.  Cen- 
drillon sheds  tears  because  she  never  expects  to 
see  the  prince  again,  and  when  her  father  comes 
to  console  her,  thinking  that  she  is  unhappy 
because  of  her  treatment  by  the  stepmother,  he 
promises  her  to  go  with  her  and  seek  refuge 
elsewhere.  But  Cendrillon  will  not  accept  such 
a  sacrifice.  She  flees  alone  into  the  dark, 
stormy  night.  The  scene  changes  to  the  fairies' 
great  oak  tree.  The  weather  is  mild  and  clear 
and  fairies  are  skipping  about.  Cendrillon 
comes,     imploring    protection.        But     Prince 

628 


Le  Chemineau 

Charming  is  also  there,  in  search  of  his  beau- 
tiful unknown.  Each  recognizes  the  other's 
voice. 

Act  IV.  Cendrillon  is  at  home  again.  She  is 
recovering  from  a  fever.  Suddenly  a  messenger 
from  the  king  is  heard  proclaiming  in  the 
streets  that  on  that  very  day  Prince  Charming 
will  receive  the  ladies  of  the  kingdom  at  his 
palace,  and  that  she  whose  foot  fits  the  small 
crystal  slipper  left  behind  at  the  recent  court 
ball  shall  be  his  wife.  All  the  ladies  try,  but 
only  Cendrillon  can  get  the  slipper  on  her  tiny 
foot.  The  change  of  scene  shows  Cendrillon 
acknowledged  as  the  promised  spouse  of  the 
prince,  and  the  whole  court  does  homage  to  her. 


LE  CHEMINEAU 

Opera  in  four  acts  by  XAVIER  H.  N.  LEROUX 
Text  based  on  a  novel  by  LUCIEN  FAVRE 

In  the  first  act  Le  Chemineau,  the  best  farm- 
hand of  Pierre,  a  well-to-do  farmer  in  France, 
and  one  who  is  always  cheerful  and  ready  for  a 
joke,  is  introduced.  Toinette,  who  is  also  in 
Pierre's  employ,  is  deeply  in  love  with  him,  and 
he  with  her.  But  Le  Chemineau  is  even  more 
fond  of  a  roving  life,  and  hates  to  assume 
steady    responsibilities.     Hence   he    makes   up 

629 


The  Standard  Operaglass 

his  mind  to  resume  his  wanderings  and  tells 
Toinette.  She  attempts  to  restrain  him,  and 
Frangois,  likewise  in  love  with  Toinette,  min- 
gles in  the  conversation,  belittles  Le  Chemineau, 
and  pleads  with  her.  Pierre,  the  farmer,  en- 
courages Toinette  to  stay,  while  she  wishes  to 
join  her  sweetheart  in  his  roving  life.  Le 
Chemineau  cuts  short  the  discussion  by  strid- 
ing off,  and  while  Toinette  falls  in  a  swoon  and 
confesses  that  she  has  been  his  mistress,  Le 
Chemineau's  song  of  departure  is  heard  from 
a  distant  field. 

Twenty  years  have  gone,  and  Francois  has 
really  married  Toinette.  But  Frangois  is  now 
an  invalid,  and  both  he  and  his  wife  worry  be- 
cause their  only  son,  Toinet,  is  always  sad. 
Aline,  old  Pierre's  daughter,  is  fond  of  Toinet, 
but  her  father  is  opposed  to  marriage  with  him. 
Pierre  even  says  that  sooner  than  see  her  the 
wife  of  Toinet  he  would  have  her  dead.  He 
finally  drives  Toinette  and  Frangois  from 
his  farm,  and  threatens  to  betray  the  fact  that 
Toinet  is  really  an  illegitimate  son  of  Le  Chemi- 
neau. Frangois,  enraged,  rushes  at  Pierre,  but 
feebly  totters  and  falls  prone  to  the  floor, 
upbraiding  his  wife  for  hiding  for  so  many 
years  the  fact  from  him  that  Toinet  is  not  his 
own  son  at  all. 

630 


Le  Chemineau 

In   Act    III    two    farm   hands,    former    co- 
workers with  Le  Chemineau  and  Francois,  are 
discussing  Toinet's  hard  lot,  when  the  latter, 
wearied  from  long  walking,  enters  the  wayside 
inn  where  the  discussion  takes  place.  Catherine, 
the  hostess,  sends  Toinet  to  the  barn  for  a  rest, 
while  Le  Chemineau,  still  very  much  his  old 
self,  drops  in,  singing  and  jolly.     He  has  been 
all  this  time  moving  about  from  place  to  place. 
The  farm  hands  recognize  him,  but  he  does  not 
know  them.     From  their  talk  he  learns  what 
became  of  Toinette,  his  former  sweetheart,  and 
feels  sorry  for  her.     "While  he  is  still  seated 
Toinette  comes  to  look  for  her  vanished  son,  and 
she  is  taken  to  his  couch.     Chemineau  remains, 
realizing  with  difficulty  that  Toinet  is  his  own 
son.     He  also  goes  to  the  barn  and  there  he 
meets  Toinette,  who  accuses  him  of  being  the 
author  of  all  her  present  misfortunes.    He  begs 
for  her  forgiveness,  which  she  grants. 
.    The  last  act  shows  Toinette's  house  on  Christ- 
mas eve.      Aline  and  Toinet  are  now  married, 
and    prepare    to   go   to   midnight   mass.       Le 
Chemineau  is  also  there,  and  he  offers  to  stay 
with  the  invalid  Francois  if  Toinette  will  join 
the    young    couple    in    their    walk    to    church. 
Toinette   accedes   and   hopes   that  her   former 
lover,  Le   Chemineau,  will  never  leave   them. 
Old  Pierre  comes  in  and  tells  Le  Chemineau 

631 


The  Standard  Operaglass 

that  if  only  he  will  marry  Toinette  after 
Frangois  has  died,  he  will  make  him  comforta- 
ble for  the  rest  of  his  life.  Le  Chemineau  de- 
clines. Frangois  has  heard  all  and  thanks  Le 
Chemineau.  The  latter  goes  away,  resuming 
his  wandering  existence,  while  the  bells  are 
heard  announcing  the  end  of  the  mass. 


THE  CHIMES  OF  NORMANDY 

Light  Opera  in  three  acts  by  E.  J.  PLANQTJETTE 
Libretto  by  CLAIRVILLE  AND  GABET 

The  first  production  took  place  at  Paris,  in 
1877.  The  scene  is  laid  in  Normandy,  among 
the  inhabitants  of  a  fishing  village. 

The  first  act  presents  an  attractive  picture  of 
village  life  with  the  annual  fair  at  Corneville. 
The  old  Marquis  de  Villeroi  has  returned  after 
a  long  absence  from  his  estates,  and  the  village 
population  is  therefore  celebrating  this  event. 
Everybody  is  at  the  fair,  old  gossips  and 
rustic  lovers  in  particular.  Their  tongues  wag 
most  about  Serpolette,  a  pert  village  beauty, 
and  Gaspard,  an  old  miser,  whom  folks  envy 
and  curse  because  of  his  wealth  for  which  he  is 
said  to  have  sold  himself  to  the  evil  one.  It 
is  mainly  because  of  old  Gaspard's  cruel  treat- 
ment of  his  niece,  Germaine,  that  he  is  hated 

632 


The  Chimes  of  Normandy 

and  despised.  He  wants  to  force  her  to  marry 
the  sheriff,  an  elderly  and  unattractive  person, 
whereas  she  herself  inclines  much  more  to  Jean 
Grenicheux,  a  bold  young  fisherman,  who  once 
rescued  her  from  drowning.  As  servants  are 
hired  at  the  fair,  Germaine  and  Jean  both 
engage  themselves  to  the  marquis,  hoping  in 
this  way  to  escape  the  sordid  plans  of  old 
Gaspard. 

The  marquis  has  resolved  to  restore  thor- 
oughly his  chateau,  fallen  into  decay  during  the 
many  years  of  his  absence,  and  popularly  be- 
lieved to  be  haunted,  so  that  the  villagers  have 
held  it  in  great  fear.  At  the  beginning  of  the 
second  act  the  marquis  has  therefore  given 
orders  that  the  whole  of  the  immense  building 
be  completely  overhauled.  In  doing  this  Gas- 
pard, the  old  miser,  who  had  purposely  fostered 
the  notion  of  spooks  in  the  cellars  because  he 
has  there  kept  his  bags  of  gold,  is  found  gloat- 
ing over  his  treasures.  The  sudden  interrup- 
tion, together  with  the  grief  of  being  found 
out  and  perhaps  losing  all  his  gold,  weigh  so 
much  on  his  mind  that  he  runs  off  into  the  cold 
night  a  shrieking  maniac. 

The  last  act  is  presented  at  the  banquet  hall 
of  the  chateau,  which  now  has  been  entirely 
restored  and  embellished.  The  marquis  is  feast- 
ing the  whole  village,  and  joy  runs  high  among 

633 


The  Standard  Operaglass 

his  guests.  Serpolette  is  most  conspicuous,  and 
Jean,  who  formerly  scorned  her,  assiduously  is 
wooing  her,  for  after  the  flight  of  Gaspard 
documents  were  found  among  his  papers  which 
seem  to  prove  that  she  is  the  heiress  to  the 
miser's  wealth.  Gaspard  himself  has  all  this 
time  been  strolling  about  bereft  of  reason.  The 
marquis  on  his  part  has  fallen  in  love  with 
Germaine,  although  she  fills  but  the  place  of  a 
servant  in  his  household.  The  day  comes,  how- 
ever, when  the  miser  recovers  his  senses,  and 
then  everything  changes,  for  it  is  then  shown 
that,  after  all,  Germaine,  is  his  niece  and  right- 
ful heiress,  and  so  the  marquis  may  wed  her. 
Serpolette  steps  down  from  her  height  and  con- 
tents herself  with  an  ordinary  husband. 


634 


Cleopatra 

CLEOPATRA 

Tragic  Opera  in  four  acts  by  X.  H.  X.  LEROUX 
Text  based  on  SARDOU'S  drama  of  the  same  name 
This  opera  was  first  performed  in  Paris,  1890, 
and  in  America  first  in  Chicago,  1919.      The 
libretto  follows  closely  historical  events. 

Mark  Anthony,  in  camp  at  Tarsus,  is  pro- 
claimed victorious  general  of  Pome,  in  the  first 
act.  The  delegates  of  the  conquered  nations 
withdraw,  save  alone  Spakos,  the  favorite  of 
Cleopatra.  Preceded  by  Charmion,  her  trusted 
slave  girl,  Cleopatra  enters.  Anthony,  at  first 
haughty  and  suspicious,  is  completely  fascinated 
by  Egypt's  queen.  Envoys  from  Rome  bring 
an  order  from  the  Senate  for  his  return,  but  he 
refuses  to  leave  Cleopatra. 

In  the  second  act  preparations  are  being 
made  for  the  marriage  of  Anthony  with  Octavia. 
Ennius,  just  back  from  the  Nile,  tells  of 
Anthony's  orgies  there.  Octavia,  on  her  way 
to  the  nuptial  chamber,  enters  with -Anthony; 
the  latter  demands  of  Ennius  news  regarding 
Cleopatra.  Learning  that  Spakos  is  for  the 
moment  high  in  her  favor,  Mark  Anthony  grows 
fiercely  jealous.  When  Octavia  returns  he  dis- 
closes to  her  his  relations  with  Cleopatra,  and 
Octavia  falls  fainting.  The  scene  that  follows 
takes  us  to  Alexandria,  Egypt.      Spakos  and 

635 


The  Standard  Operaglass 

Cleopatra,  disguised  as  a  boy,  enter  an  inn 
together.  There  is  a  mob,  and  one  of 
them,  a  public  dancer  named  Adamos,  attracts 
Cleopatra.  Spakos  becomes  frantic  with  jeal- 
ousy, while  Cleopatra  takes  off  her  costly  head- 
dress and  praises  the  crowd  for  having  amused 
her.  Suddenly  the  approach  of  Mark  Anthony 
is  announced  to  her,  and  despite  the  furious 
outbreaks  of  Spakos  she  hastens  to  meet  him. 

There  is  a  garden  scene  in  the  third  act,  with 
Cleopatra  and  Mark  Anthony  loitering  in  the 
shady  paths.  She  offers  to  kiss  that  man  who 
will  afterwards  empty  a  chalice  filled  with 
deadly  poison.  He  dashes  the  vessel  to  the 
ground.  Octavia  enters  unannounced,  begging 
her  husband  to  return  to  Rome  for  important 
affairs.  Anthony,  however,  scorns  her  and  her 
advice  and  prepares  to  meet  Octavius  on  the 
battlefield.  Spakos  assures  Octavia  that  Cleo- 
patra has  been  his  and  shall  be  his  again. 
Anthony  comes  in  his  battle  chairiot  to  bid 
farewell  to  Cleopatra. 

In  the  last  act  Cleopatra  is  waiting  news  of 
the  fight  at  Actium,  lolling  on  a  terrace  over- 
looking the  sea.  She  has  made  preparations 
for  suicide  in  case  Anthony  is  dead.  Charmion 
comes  with  a  basket  of  flowers  in  which  an  asp 
is  concealed,  and  Cleopatra  says  she  prefers 
death   from    snakebite    to   being   exhibited    in 

636 


Crispino  E  La  Comare 

Octavius'  triumphal  procession.  Spakos  enters, 
telling  her  that  Anthony  believes  her  dead  and 
will  never  return  to  her.  Then  he  protests  his 
undying  love  for  her.  Cleopatra  stabs  him  to 
the  heart.  Anthony,  having  fallen  on  his  own 
sword  on  hearing  of  Cleopatra's  death,  enters 
mortally  wounded.  As  he  expires,  Cleopatra 
lays  the  asp  to  her  bosom  and  dies  before  the 
entrance  of  victorious  Octavius. 


CRISPINO  E  LA  COMARE 

Fairy  Opera  in  three  acts  by  G.  EICCI 
Words  by  P.  CAVALIERI  and  D.  VESTRI 

This  tuneful  opera  was  first  given  six  years 
after  the  composer's  death,  in  1865,  in  Paris. 

Act  I.  Crispino  and  Annetta,  his  wife,  are  a 
luckless,  penniless  couple  with  a  large  family. 
He  is  a  cobbler  and  she  a  street  ballad  vendor, 
and  their  miserly  landlord  is  about  to  put  them 
on  the  pavement  for  non-paid  rent.  Crispino, 
in  despair,  wants  to  throw  himself  into  an  old 
deep  well,  when  a  fairy  appears  in  a  mist,  and 
hinders  this  attempt  at  self-destruction,  promis- 
ing henceforth  to  take  care  of  him.  The  bar- 
gain she  makes  with  him  is  this:  he  is  to  be- 
come a  famous  physician,  and  to  perfect  a  cure 

637 


The  Standard  Operaglass 

in  every  instance  where  she,  the  fairy,  will  not 
be  visible  to  him  at  the  patient's  bed. 

Act  II.  Happiness  at  last  seems  to  have  come 
to  the  couple,  for  marvelous  cures  are  effected 
by  Crispino.  This  arouses  the  jealousy  of  the 
doctors. 

Act  III.  Crispino,  spoiled  by  success,  becomes 
cruel  to  his  wife  and  even  forgets  the  fairy's 
warning.  For  punishment  the  fairy  makes  the 
ground  swallow  him  up.  Crispino  sees  terrible 
visions.  As  a  last  request  he  begs  his  pro- 
tectress to  let  him  see  his  wife  and  children 
once  more.  This  brings  about  his  forgiveness, 
and  he  finds  himself  again  at  home. 

CYRANO  DE  BERGERAC 

Dramatic    Opera    in    four    acts    by    FRANK    DAM- 

EOSCH 

Text  based  on  ROSTAND'S  well-known  drama 

The  opening  performance  of  this  work  oc- 
curred in  New  York,  1913.  The  plot  is  a  very 
clever  condensation  of  Rostand's  spirited  drama, 
and  is  replete  with  action.  The  scene  is  laid  in 
the  year  1640. 

Act  I  shows  the  Hotel  de  Bourgogne  where 
the  play,  "  La  Clorisse,"  is  about  to  begin. 
Montfleury,  the  leading  actor,  is  in  disgrace,  and 

638 


Cyrano  De  Bergerac 

has  been  forbidden  to  act  for  a  whole  month  by 
Cyrano's  whim,  the  unfortunate  star  having  in- 
curred his  displeasure  not  alon»  for  bad  playing 
but  for  his  presumption  in  glancing  at  Cyrano's 
cousin,  Eoxane.  Cyrano,  although  madly  in 
love  with  Eoxane,  does  not  trust  himself  to 
avow  his  state  of  feelings,  merely  because  nature 
has  endowed  him  with  a  monstrous  nose,  and 
he  fears  ridicule  like  death.  Christian,  Baron 
de  Neuvillette,  is  also  secretly  in  love  with 
Eoxane,  but  her  relative  Guiche  favors  none 
of  these,  but  rather  the  Viscount  de  Valvert 
for  her  suitor.  However,  Guiche  fails  in  this, 
and  a  friend  of  Christian's,  Ligniere,  has  even 
composed  a  song  of  derision  at  Guiche's  expense. 
LeBret,  Cyrano's  friend,  is  impatiently  expect- 
ing the  latter.  Christian  is  jealous  of  Valvert. 
Christian  detects  the  hand  of  a  pickpocket  in 
his  clothes,  and  to  obtain  pardon  the  thief  re- 
veals to  him  a  plot  to  set  upon  Ligniere  at  the 
Porte  de  Nesle.  So  Christian  goes  to  warn 
Ligniere.  Meanwhile  Cyrano  and  Valvert 
cross  swords,  and  the  latter  is  wounded.  Cyrano 
confesses  to  LeBret  his  love  for  Eoxane. 
Cyrano  is  informed  that  Eoxane  wishes  to  meet 
him  next  morning. 

In  the  second  act  this  meeting  takes  place. 
It  is  at  a  fashionable  cookshop's,  and  Cyrano 
sits  down  at  a  table  to  write  a  note  to  Eoxane 

639 


The  Standard  Operaglass 

confessing  all.  Eoxane  enters  and  thanks  Cyrano 
for  the  service  done  her  and  Christian  the  night 
before.  She  asks  Cyrano  to  shield  Christian 
with  his  invincible  sword,  because  she  loves  him. 
Cyrano  becomes  depressed  because  of  Eoxane's 
confidences,  especially  as  she  does  not  scruple 
to  admit  her  partiality  for  Christian.  Guiche 
comes  in,  and  Cyrano  purposely  offends  him. 
Guiche  is  afraid  to  pick  a  quarrel  with  him. 
Christian,  not  knowing  that  Eoxane  has  pleaded 
with  her  cousin  to  protect  him,  and  being  tired 
of  serving  forever  as  the  butt  for  his  fellow- 
cadets  in  the  regiment,  taunts  Cyrano  with  the 
size  and  shape  of  his  nose.  Cyrano,  although 
angered  greatly,  controls  his  wrath  for  the  sake 
of  his  beloved  Eoxane.  Left  alone  with  Chris- 
tian, Cyrano  tells  the  young  lover  that  he  is 
conversant  with  all  the  facts,  and  that  Eoxane 
expects  a  letter  from  him.  Christian  is  crest- 
fallen, admits  that  writing  is  not  his  strong 
point,  and  then  Cyrano  offers  him  the  letter  he 
had  written,  but  never  delivered,  to  Eoxane, 
telling  him  that  it  will  do  very  well  under  the 
circumstances. 

In  Act  III  Guiche  bids  adieu  to  Eoxane,  be- 
ing commanded  to  go  with  his  regiment  in 
defense  of  the  town  of  Arras.  Since  her  own 
lover,  as  one  of  the  cadets,  forms  part  of  that 
regiment,  she  fears  that  Guiche  may  mean  harm 

640 


Cyrano  De  Bergerac 

to  Christian.  So  she  impresses  him  with  the 
notion  that  it  would  be  wise  to  leave  Cyrano's 
company  behind,  thus  frustrating  the  latter's 
ambitious  plans.  Guiche  does  so.  Cyrano, 
out  of  regard  for  his  pledged  word,  makes  love 
for  Christian,  deftly  plying  his  powers  of 
vicarious  seduction  until  Roxane  kisses  the 
youth  in  Cyrano's  very  presence.  Guiche  re- 
turns, but  Cyrano  delays  his  interference 
long  enough  to  have  a  priest  pronounce 
Christian  and  Eoxane  man  and  wife.  Out 
of  revenge  Guiche  at  once  orders  the  young  hus- 
band off  to  active  service,  to  aid  in  the  siege  of 
Arras. 

The  last  act  shows  the  cadets,  with  Christian 
among  them,  before  Arras.  Famine  is  weaken- 
ing their  ranks.  Dawn  breaks  and  the  reveille 
is  heard.  Guiche,  more  hated  than  ever,  re- 
bukes his  troops  fiercely.  Cyrano  comments  on 
the  injustice  of  it.  There  is  a  conversation  be- 
tween Christian  and  C)7rano,  in  which  the 
former,  unaware  hitherto  of  Cyrano's  passion 
for  Roxane,  comes  to  realize  it.  Roxane  ap- 
pears. She  has  all  along  received  from  her 
young  husband  letters  so  affectionate  and  high- 
souled  as  to  make  her  fall  in  love  with  him 
deeper  and  deeper,  but  letters,  unknown  to  her, 
every  one  of  which  was  written  by  Cyrano. 
She  is  now  resolved  to  join  Christian  in  the 

641 


The  Standard  Operaglass 

field  at  all  hazards.  Full  of  overflowing  en- 
thusiasm she  tells  her  husband  that  she  would 
love  him  if  he  were  ugly.  Christian  at  last  sees 
clearly  that  it  is  not  himself  in  reality  whom 
his  wife  loves,  but  the  author  of  those  letters, 
Cyrano.  He  frankly  tells  Cyrano  about  this. 
Then  an  assault  is  made  by  the  foe,  and  Chris- 
tian is  killed.  Cyrano  rushes  off  to  take  part 
in  the  fight.  Then  there  is  a  change  of  scene. 
When  the  battle  ends  LeBret  is  seen  carrying 
Cyrano,  mortally  wounded,  to  a  convent  close 
by,  and  Eoxane  likewise  goes  there  to  join 
him. 


DEJANIKE 

Tragic  Grand  Opera  by  C.  C.  SAINT-SAENS 
Text  by  LOUIS  GALLET  and  the  composer 

This  opera  saw  its  first  production  at  Monte 
Carlo,  in  1911.  The  book  is  based  on  early 
Greek  mythology. 

In  the  first  act  the  scene  is  placed  upon  a 
colonnade  in  front  of  the  palace  of  Hercules, 
with  the  Acropolis  visible  in  th'e  distance.  The 
followers  of  Hercules  are  lauding  the  valiant 
deeds  of  their  hero,  who  is  a  son  of  Zeus  and 
of  Alkmene.  Among  his  achievements  they 
speak  of  his  conquering  Eurytus,  the  tyrant,  and 

642 


Dejanire 

of  his  bringing  back  with  him  the  latter's 
daughter,  Iole.  Iole  appears,  weeping  at  her 
lot  and  that  of  her  women,  the  Oechalians. 
Philoetetes  and  Hercules  enter,  Hercules  speak- 
ing of  the  hatred  borne  for  him  by  Juno,  and 
of  the  criminal  passion  he  has  for  Iole.  He 
begs  his  friend  Philoetetes  to  convey  a  message 
of  love  to  Iole  and  to  appease  the  wrath  of  his 
legitimate  wife,  Dejanira,  who  is  awaiting  his 
return  to  her  in  Calydon.  Then  Phenice,  sent  by 
Dejanira,  tells  him  that  his  wife  wishes  to  meet 
him  at  the  foot  of  the  Acropolis,  but  Hercules 
declines  to  do  this,  and  bids  Dejanira  return 
to  Calydon.  Phenice,  who  is  a  seeress,  prophe- 
sies great  evil,  has  visions  of  horrible  events 
and  sees  rising  flames.  Then  she  rushes  away 
in  terror.  Philoetetes  discharges  his  mission, 
confessing  the  love  Hercules  bears  to  Iole, 
who  scorns  it,  and  the  two  instead  avow  an  un- 
dying affection  for  each  other.  Dejanira  on 
being  told  by  Phenice  that  her  husband  com- 
mands her  to  go  back  to  Calydon,  is  seized  by 
convulsive  jealousy,  and  goes  to  the  palace  to 
demand  justice  from  Hercules.  She  recounts 
to  a  circle  of  admiring  Aetolian  women  all  the 
wonderful  exploits  divine  Hercules  has  per- 
formed to  win  her.  She  deplores  the  fact  that 
now  her  husband  is  proving  faithless,  and  re- 
lates how  Hercules  and  Xessus,  the  Centaur, 

643 


The  Standard  Operaglass 

met  and  how  the  latter  was  wounded  mortally. 
In  a  transport  of  rage  she  finally  disappears 
within  the  palace. 

When  the  curtain  rises  on  Act  II  Dejanira 
meets  Iole.  The  two  women  silently  appraise 
each  other,  and  Dejanira  boasts  that  she  will 
take  the  sweetheart  of  her  husband  to  Calydon 
with  her,  chained  to  the  spokes  of  her  chariot. 
Hercules  enters,  furious  at  his  wife's  conduct. 
Dejanira  flees.  But  Hercules  follows  her,  ex- 
acting her  promise  that  she  will  obey  his  order. 
A  fierce  conjugal  quarrel  ensues,  the  wife  de- 
nouncing the  husband's  errant  fancies.  Her- 
cules sends  for  Iole  and  tells  her  of  his  love.  He 
is  answered  that  she  cannot  command  her  feel- 
ings, and  when  Philoctetes  comes  in,  he  is 
watched  closely  by  Hercules  who  suspects  him. 
Philoctetes  and  Iole  confess  their  mutual  love 
to  Hercules,  and  Hercules  replies  by  casting 
his  follower  into  prison. 

In  Act  III  Dejanira  is  recounting  the  inci- 
dents prior  to  the  death  of  Nessus,  and  espe- 
cially how  the  latter  made  her  a  gift  of  his 
robe  with  the  injunction  that  if  donned  this 
robe  would  infallibly  work  a  renewal  of  love  in 
the  wearer.  Iole  enters,  casts  herself  at  the  feet 
of  Dejanira,  and  implores  her  assistance  in  try- 
ing to  effect  a  union  of  herself  and  Philoctetes. 
Dejanira  softens  and  promises  her  aid.     Her- 

644 


Dejanire 

cules  surprises  Iole,  and  forces  her  to  submit 
to  him  by  threatening  her  with  the  shameful 
death  of  Philoctetes.  She  yields.  Later  De- 
janira  gives  the  shirt  of  Xessus  to  Iole,  instruct- 
ing her  to  present  it  to  Hercules  as  a  token  of 
love.  Iole  consents,  unwitting  of  the  true  sig- 
nificance of  the  matter.  Phenice  predicts  evil 
to  come  from  it  all. 

In  the  fourth  and  last  act  the  scene  is  en- 
acted before  a  temple  of  Jove,  and  Hercules, 
preparing  sacrifices  in  honor  of  his  nuptials  with 
Iole,  plays  the  lyre  and  sings  of  the  joys  of  love. 
Iole  comes  with  her  companion  women  and 
bears  the  fatal  gift,  the  garment  of  Nessus.  De- 
janira,  having  understood  the  meaning  of  this 
gift  to  be  a  renewal  of  her  husband's  affection 
for  herself,  is  unobserved  among  the  crowd  of 
sightseers.  Hercules  dons  the  garment,  and 
then  leads  Iole  to  the  epithalamian  throne. 
He  gives  the  signal  for  the  commencement 
of  the  sacrifices,  scattering  incense  in  the  tripod, 
and  calling  upon  his  father,  Jove,  to  descend 
in  the  rays  of  the  setting  sun  and  thus  light 
the  altar  fire.  As  he,  however,  is  pouring  out 
the  libation,  he  drops  the  cup,  and  grasp- 
ing his  bosom,  cries  out  in  sudden,  intoler- 
able torture :  "  The  fire  burns  my  flesh !  " 
The  ill-omened  shirt  is  torn  off  his  body,  but 
Hercules  is  dying.     Dejanira,  now  repentant, 

645 


The  Standard  Operaglass 

deplores  her  own  fate  and  that  of  her  truant 
husband.  Hercules  in  agony  mounts  the  altar 
and  begs  Jove  to  deliver  him  from  his  misery. 
A  thunderbolt  flashes  out  of  a  clear  sky,  and 
the  fuel  on  the  altar  flames.  Thick  smoke 
obscures  the  whole  scene,  and  when  it  clears  off 
Hercules  is  seen  seated  on  high  among  the 
gods,  his  mortal  part  consumed  by  fire. 


LA  DOLOEES 

Grand  Opera  in  three  acts  by  JUAN  BEETON 
Texf  from  a  tale  by   SALARES 

"La  Dolores"  was  first  sung  in  Madrid,  in 
1895. 

The  popular  waitress  at  the  tavern  kept  by 
Gaspara  in  the  Spanish  town  of  Catalayud,  is 
named  Dolores.  She  has  a  host  of  admirers. 
One  of  them  is  the  wealthy  Patrizio  whom 
Celemino,  another  one,  advises  to  forget  her, 
since  she  for  the  moment  loves  Melchior, 
a  barber.  Soldiers  enter  the  inn,  and  their 
commander,  Sergeant  Eojas,  at  once  falls 
in  love  with  her.  Gaspara's  son,  the  priest 
Lazaro,  secretly  is  likewise  infatuated  with  Do- 
lores. Melchior  comes  in  and  tells  Dolores  that 
he  is  about  to  marry  another  girl.  Dolores 
threatens  him  with  revenge.     Patrizio  enters 

646 


La  Dolores 

with  a  merry  tchorus,  the  Rondalla,  in  which 
every  participant  imitates  a  musical  instrument. 
The  Jota  (a  favorite  dance  of  Aragon)  is  being 
performed,  all  the  dancers  improvising  couplets 
to  accompany  the  measure.  Melchior's  mock- 
ing song  impugns  the  honor  of  Dolores,  who 
curses  him. 

The  second  act  takes  place  in  the  yard  of  the 
tavern.  Lazaro  sings  of  his  hopeless  love  for 
Dolores,  when  Patrizio  enters  with  gifts  for 
Dolores,  and  later  bullfighters  come,  and  Rojas 
boasts  of  his  skill.  Melchior  asserts  he  is  the 
favored  lover  of  Dolores;  she  denies  his  claim, 
but  secretly  she  makes  an  appointment  with 
him.  Lazaro  enters,  avows  to  Dolores  his 
passion,  and  clasps  her  in  his  arms.  Celemino 
roughly  jests,  and  the  two  men  fight.  People 
are  hurrying  off  for  the  bullfight.  Rojas  is 
almost  killed  by  the  enraged  bull,  when  Lazaro, 
the  priest,  rushes  in  and  stabs  the  raging  beast 
to  death.  There  is  great .  applause  and  Dolores 
promises  her  love  to  Lazaro. 

The  third  act  takes  place  at  a  room  at 
the  inn.  Lazaro,  the  priest,  is  chanting  the 
litany  and  Gaspara,  his  mother,  retires  for  the 
night.  Dolores  whispers  to  Lazaro  not  to  come 
to  her  that  night,  and  Celemino  tells  Lazaro 
about  Melchior's  boast.  Dolores  invites  both 
Rojas  and.  Patrizio  to  her  room  and  speaks  of 

647 


The  Standard  Operaglass 

her  fear  of  Melchior.  She  tells  Gaspara  that 
her  son  is  in  love  with  her,  and  the  mother 
is  horrified  and  bids  him  leave  the  house. 
Melchior  enters  and  insults  Dolores  grossly. 
Suddenly  Lazaro  rushes  into  the  chamber  and 
seizes  Melchior.  Both  fall  out  of  the  window. 
Melchior  is  killed  by  the  fall,  but  Lazaro  is 
merely  injured.  Patrizio  and  others  rush  in,  and 
Dolores  accuses  herself  before  them  all  of  having 
caused  Melchior's  death,  but  Lazaro  takes  the 
guilt  of  it  upon  himself. 


LE  DONNE  CURIO SE 

A  Comic  Opera  in  three  acts  by  E.  WOLF-FEEEAEI 

The  text  is  by  LUIGI  STJGANA,  based  on  a  comedy  by 
CARLO  GOLDONI 

The  first  production  was  at  Munich,  1903. 
The  scene  is  Venice,  in  the  eighteenth  century. 

The  curtain  rises  showing  the  quarters  of  a 
fashionable  social  club,  where  a  number  of 
Venetian  gentlemen  are  quietly  amusing  them- 
selves. Women  are  excluded  from  the  club- 
house by  the  strict  rules  of  its  members.  This 
fact  is  even  proclaimed  by  a  sign  over  the  en- 
trance door,  reading :  "  No  women  admitted." 

648 


Le  Donne  Curiose 

The  wives  of  the  club  members  are  aware  of  this 
prohibition  and  are  chafing  at  it.  For  some 
time  their  dissatisfaction  has  found  vent  in 
gossip  among  themselves  and  in  all  sorts  of 
surmises  as  to  the  mysteries  of  the  club.  They 
are  unable  to  credit  the  statement  of  their  hus- 
bands that  no  secret  doings  occur  at  the  club, 
but  suspect  the  most  dreadful  things.  The  plain 
truth  is  that  nothing  more  reprehensible  is  in- 
dulged in  there  than  the  playing  of  chess  and 
the  giving  of  dinners,  and  that  the  presence  of 
women  is  only  forbidden  to  allow  the  men  to  be 
among  themselves  now  and  then.  Thus,  Pan- 
talone  issues  an  invitation  to  a  score  of  his 
friends  for  a  dinner,  and  instructs  his  servant 
to  attend  to  all  the  details. 

In  the  next  scene  there  is  shown  a  room  in 
Ottavio's  house,  where  his  wife,  Beatrice,  his 
daughter,  Rosaura,  and  Lelio's  wife,  Eleonora, 
are  intensely  interested  in  a  discussion  as  to 
what  there  is  concealed  within  the  walls  of 
this  awful  club  that  is  the  bugbear  of  all  the 
women.  Each  fair  one  indulges  in  a  guess. 
Columbine,  the  maid,  swears  that  the  club  mem- 
bers are  really  only  combined  to  uncover  buried 
treasure.  Arlecchino,  Columbine's  good  friend, 
surmises  a  lot  of  ridiculous  things.  Ottavio, 
who  opportunely  drops  in  on  the  confabulation, 
is  made  to  undergo  a  rigid  cross-examination, 

649 


The  Standard  Operaglass 

but  is  unable  to  reveal  anything  of  value.  As 
the  last  one  Florindo,  the  young  cavalier  who  is 
the  favored  suitor  of  Eosaura,  the  daughter  of 
the  house,  is  made  to  appear  before  this  dread 
court  of  investigation.  He  is  so  hard  pressed 
by  mistress  and  maid  that  at  last  he  cannot  help 
betraying  the  password  of  the  club, —  "  Here's 
to  friendship." 

In  the  second  act  Eleonora,  in '-a  room  in 
Lelio's  house,  gets  hold  of  her  husband's 
breeches,  and  searches  in  the  pockets  for  the 
keys  of  the  clubhouse.  But  Lelio,  a  stern  man 
who  disapproves  even  of  the  indulgence  of  this 
connubial  prerogative,  surprises  his  wife  at  this 
examination.  He  mercilessly  covers  her  with 
confusion,  and  then  he  leaves  for  the  club. 
There  is  a  change  of  scene  to  Ottavio's  house, 
where  one  learns  from  Eosaura  and  Colum- 
bine that  the  password  has  been  discovered. 
Columbine  now  proves  her  skill  by  changing 
the  keys  in  her  master's  coat  for  others  of  simi- 
lar pattern,  and  thus  possesses  herself  of  the 
keys  to  the  clubhouse.  Next,  she  elaborately 
plans  to  put  on  male  attire  and  then  proceed 
on  her  way  to  the  club.  This  the  other. ladies 
also  do,  setting  forth  on  their  travels  with 
all  the  delicious  anticipati6n  of  unheard-of  ad- 
ventures. Even  Eosaura,  first  forbidden  by  her 
mother  to  join  on  the  plea  of  being  yet  too 

650 


Le  Donne  Curiose 

young  for  "  such  things;"  manages  to  have 
Florindo,  her  suitor,  lend  her  his  keys,  and  she 
also  is  on  the  way  to  that  terrible  den  of  infamy, 
as  they  suspect  it  to  be. 

The  third  act  first  shows  the  street  outside 
the  clubhouse,  where  a  great  confusion  of  miss- 
ing or  wrong  keys  takes  place.  Eleonora  drops 
her  own  key,  stolen  from  her  husband's  pockets. 
Then  Columbine,  although  armed  with  the  right 
key,  meets  Pantalone,  who  forces  her  to  deliver 
it  up.  Then  one  and  all  of  the  legitimate 
owners  of  the  keys,  to  wit,  the  club  members, 
on  arriving  at  the  door,  discover  that  their  keys 
have  been  stolen.  Pantalone,  though  this  thing 
seems  weird  to  him,  nevertheless  lets  them  in 
with  his  own  key.  Florindo  detects  Eosaura  in 
the  throng  and  tears  off  her  mask.  Thus,  one 
by  one,  despite  the  cunning  of  the  wives  and 
sweethearts,  the  men  find  their  way  into  the 
clubhouse.  And  then  the  women,  although 
somewhat  ashamed  of  the  part  they  have  played, 
appear  once  more  on  the  square,  and  at  last, 
by  bribing  Arlecchino,  are  admitted  to  the  club- 
house. 

The  concluding  scene  .takes  place  in  the 
dining-room  of  the  clubhouse.  There  is  in  the 
rear  a  door  having  semi-transparent  glass 
panes  in  its  upper  portion.  And  one  by  one, 
with  much  shoving  and  screaming,  the  curious 

651 


The  Standard  Operaglass 

wives  are  permitted  to  peep  through  the  glass  at 
the  interior  of  the  handsome  hall.  But  they  are 
enormously  disappointed,  for  there  is  nothing 
more  sensational  to  see  than  a  body  of  men 
peaceably  eating  a  good  dinner  amid  occasional 
bursts  of  laughter.  But  the  women  are  so  eager 
to  see  the  supposed  mysteries  hidden  from  them 
so  far  that  they  tumble  over  each  other,  and 
burst  open  the  door,  breaking  into  the  room 
amongst  the  merry  diners.  A  good  dinner, 
however,  predisposes  to  leniency  and  good  na- 
ture, and  so  the  over  curious  wives  are  forgiven, 
and  the  women  are  at  last  easy  in  their  minds 
about  the  real  nature  of  this  much-suspected 
club.  There  is  a  dance  in  which  all  join.  Ar- 
lecchino  weds  his  Columbine,  and  Florindo  his 
Kosaura,  and  the  world  goes  wagging  on. 


DON  QUICHOTTE 

Comic  Opera  in  five  acts  by  JULES  MASSENET 
The  text  based  on  the  famous  tale  by  CERVANTES 

This  work  was  first  seen  in  Monte  Carlo, 
1910.    The  scene  of  the  opera  is  Spain. 

Act  I.  It  is  a  gay  holiday.  On  a  public 
square  before  the  house  of  Dulcinea  are  assem- 
bled a  number  of  her  admirers,  among  them 

652 


Don  Quichotte 

Don  Quichotte  with,  his  squire,  Sancho  Panza, 
at  whose  appearance  there  is  great  laughter. 
When  Don  Quichotte  ventures  to  serenade 
his  mistress,  Juan,  another  of  the  damsel's 
suitors,  provokes  a  quarrel.  Dulcinea  her- 
self prevents  a  duel,  being  only  highly  amused 
at  the  gaunt  knight's  antics.  But  to  en- 
courage him  she  says  he  may  think  of  her  as 
much  as  he  pleases  if  he  will  first  restore  to 
her  the  precious  necklace  stolen  by  robbers. 

Act  II.  Don  Quichotte  with  his  squire  on  the 
road  seeking  adventures,  the  master  on  his 
sorry  mare  Eosinante,  the  other  on  his  donkey. 
Sancho  is  making  fun  of  his  master's  achieve- 
ments. He  scatters  a  herd  of  swine,  and  next 
fights  windmills,  being  caught  by  one  of  the 
wings  and  cast  about  in  the  air. 

Act  III.  A  mountain  scene.  Brigands  are 
encountered,  and  Sancho  uses  the  better  part  of 
valor.  But  the  Don  defies  his  assailants,  end- 
ing as  their  captive.  While  waiting  for  the 
death  stroke,  he  keeps  on  repeating  the  name 
of  Dulcinea.  The  robbers  are  impressed  with 
his  courage  and  constancy,  and  end  by  turning 
over  to  him  Dulcinea's  necklace. 

Act  IV.  A  festival  at  the  house  of  Dulcinea. 
She  tires  of  the  meaningless  gallantries  of  her 
wooers,  when  Don  Quichotte  and  Sancho  enter 
and  restore  her  necklace.     She  embraces  and 

653 


The  Standard  Operaglass 

thanks  him.  He  renews  his  declaration  of  love 
to  her,  hut  she  admits  that  she  is  not  fit  to  be 
a  cavalier's  wife.  Nevertheless,  Don  Quichotte 
affirms  his  undying  affection. 

Act  V.  This  passes  in  a  forest,  where  the 
noble-hearted  knight  is  dying.  As  a  priceless 
legacy  the  knight  leaves  to  his  faithful  servant 
an  island  — "  the  most  beautiful  island  there 
is,"  The  Island  of  Dreams. 


L'ENFANT  PRODIGUE 

(The  Prodigal  Son  ) 
One-act  interlude  by  CLAUDE  DEBUSSY 
The  text  is  anonymous. 
This  was  first  presented  in  1910  at  London. 
As  the  sun  rises   Simeon  and  Leah  mourn 
their  long-lost  prodigal  son,  Azael.    Youths  and 
maidens  bring  gifts  of  fruits  and  flowers,  when 
Azael  enters.     He  is  in  tattered  raiment,  re- 
pentant, and  utterly  exhausted  from  wandering 
in    a   famished   condition.      He   sinks   to   the 
ground.     Both  father  and  mother  forgive  him, 
and  kneel  down  to  render  thanks  to  God  for 
his  safe  return. 


654 


L'Etoile  Du  Nord 

L'ETOILE  DU  NORD 

A  three-act  Opera  by  GIACOMO  MEYERBEER 
Text  by  CAMILLE  MEUNIER 

This  opera  was  first  performed  in  Paris  in 
185-L    The  scene  is  laid  in  Eussia  and  Finland. 

Act  I.  The  czar,  Peter  the  Great,  is  disguised 
as  a  carpenter,  and  as  such  he  meets  and  loves 
Catharine,  who  is  on  the  point  of  donning 
male  attire  to  serve  in  the  army  in  place  of  her 
brother  George. 

Act  II.  At  the  Bussian  camp.  Catharine, 
now  a  recruit  in  a  dragoon  regiment,  discovers 
a  plot  to  murder  the  czar.  She  betrays  the 
secret  and  thus  enables  the  czar  to  spoil  the 
plot  and  seize  the  conspirators. 

Act  III.  This  happens  at  the  palace  of  the 
czar.  Peter  longs  for  Catharine  whom  he 
has  not  met  of  late  and  thinks  she  must  be 
dead,  for  his  inquiries  have  been  in  vain.  But 
at  last  he  has  news  that  she  is  alive  but  insane. 
The  czar  sends  for  her.  To  please  her  he  has 
his  garden  laid  out  so  as  to  resemble  the  one 
he  tended  in  Viborg,  Finland,  where  he  first 
met  her.  He  also  puts  on  his  carpenter's  cos- 
tume, and  as  she  sees  him  she  falls  into  his 
arms.    He  makes  her  his  wife. 


655 


The  Standard  Operaglass 

FAIRYLAND 

A  three-act  American  allegorical  Opera  by  HOEATIO 

PAEKEE 

Libretto  by  BRIAN  HOOKER 

This  work  was  first  performed  at  Los  Angeles, 
1915.  The  scene  is  supposed  to  be  a  picturesque 
valley  in  a  hilly  district  of  Europe,  about  1300 
A.D. 

The  dwellers  in  a  charming  valley  are  wend- 
ing homewards  one  autumn  eve,  their  way  lead- 
ing them  past  the  abbey.  Rosamund,  a  novice, 
all  clad  in  white,  is  gazing  out  afar  from  a 
balcony  and  longing  to  mingle  with  the  world. 
Eagerly  she  stretches  out  her  arms  towards  that 
unknown  region.  In  the  distance  she  spies  a 
horseman  and  she  implores  him  in  her  thoughts 
to  bear  her  away  to  scenes  of  action.  The 
angelus  is  tolled,  she  crosses  herself  and  goes 
within.  Corvain,  striding  over  a  frail  bridge, 
pauses  at  the  gate  of  the  abbey.  Robin  coming 
from  the  woods,  is  hailed  by  Corvain  who  in- 
quires which  way  the  king  went.  Robin's  an- 
swer is  given  tauntingly,  and  he  insinuates  that 
Corvain  harbors  plots  against  the  king.  The  nuns 
of  the  abbey  come  forth  in  a  procession,  walk- 
ing slowly  by  twos  and  threes,  Rosamund  last. 
They  carry  garlands  with  which  to  wreathe  the 
shrine  near-by.     Corvain  blocks  the  path,  and 

656 


Fairyland 

Myriel,  the  abbess,  demands  to  know  what  is  his 
object  there.  Corvain  rejoins  curtly,  betraying 
contempt  for  his  saintly  brother.  He  speaks 
of  taking  the  king's  place.  While  talking  to- 
gether, Corvain  points  to  the  approaching  figure 
of  Auburn,  the  king.  Corvain  asks  the  thought- 
ful monarch  who  is  to  bear  rule  in  his  absence, 
and  Auburn  feels  indifferent  about  it.  The  ab- 
bess claims  the  rule  for  the  Church  and  drives 
Corvain  to  flight.  At  Myriel's  demand  Auburn 
destroys  the  bridge  leading  across  the  chasm. 
Auburn  prays  by  the  shrine  for  a  clear  answer 
as  to  the  real  meaning  of  life,  but  in  the  gather- 
ing gloom  of  night  Corvain  has  stolen  up  by 
crooked  paths,  and  now  strikes  Auburn  sense- 
less and  seizes  the  crown.  At  this  moment  the 
red  rose  within  the  shrine  gleams  brightly,  and 
fairy  voices  are  heard  singing.  Conscience 
wakes  within  Corvain,  who  now  flings  away  the 
stolen  crown  and  disappears.  A  fairy  scene  en- 
sues. Eobin  comes  in,  scatters  the  last  drops 
of  wine  out  of  his  cup,  after  drinking  to  the 
health  of  the  king  and  queen  of  Fairyland,  and 
the  unconscious  king  awakes.  He  sees  Eosa- 
mund  enthroned  on  the  shrine,  in  lieu  of  the 
Virgin,  and  they  both  avow  their  love  and  know 
they  are  in  Fairyland. 

At  the  opening  of  the  second  act  Corvain 
stands  in  his  castle  attired  in  garments  of  roy- 

657 


The  Standard  Operaglass 

alty,  granting  audience  to  Eobin  and  his  fellows, 
all  of  whom  ask  for  justice.  They  are  driven 
away,  and  Eosamund  is  brought  in  foot-sore 
and  in  hard  plight.  She  says  she  is  seeking 
the  king  in  Fairyland.  He  invites  her  to  stay 
with  him,  making  love  to  her,  but  she  rejects  his 
wooing  and  sings  the  song  of  the  rose.  Eobin 
hears  it,  and  is  followed  in  by  Auburn  clad  as 
a  pilgrim.  Eosamund  instantly  recognizes  him, 
though  Auburn  has  forgotten  her  and  merely 
stares  at  her  uncomprehendingly.  Eosamund  col- 
lapses at  his  feet.  Auburn  lays  claim  to  king- 
ship in  the  palace,  but  Eosamund  tells  him  his 
real  rule  is  in  Fairyland.  She  attempts 
to  make  Auburn  recall  the  past  and  his  ruler- 
ship  in  Fairyland,  until  Myriel,  the  abbess,  ap- 
pears and  puts  a  stop  to  the  growing  confidences 
of  these  two,  telling  them  to  forbear.  Myriel 
and  the  nuns  drag  Eosamund  away,  despite  the 
protests  of  Auburn.  Corvain  comes  on  the  scene 
with  a  body  of  stout  followers  and  tries  to  claim 
Eosamund  for  himself,  but  Myriel  disputes  his 
right,  and  Auburn  suddenly  interferes  and 
stands  confessed  as  the  king.  Corvain  in  turn 
denies  this  and  the  two  contend  against  each 
other,  Corvain  resting  his  claim  on  the  weapons 
of  his  men-at-arms,  while  Auburn  relies  on  the 
masses  of  the  people.  The  latter,  however,  are 
led  astray  by  the  specious  eloquence  of  Corvain, 

653 


Fairyland 

and  disown  Auburn.  When  he  summons  the 
light  of  the  rose  to  his  aid,  that,  too,  fades  away. 
The  last  act  shows  Rosamund  tied  to  a  stake 
ready  for  death,  and  the  abbey  bell  rings,  Myriel 
approaching  Rosamund  with  sympathy  and  help. 
Rosamund  is  endeavoring  to  explain  to  Myriel 
'the  reasons  for  the  choice  she  has  made,  but  the 
abbess  fails  to  understand  her.  Myriel,  how- 
ever, offers  to  the  girl  life,  absolution  and  saint- 
hood, if  only  she  will  repent.  Rosamund  re- 
fuses, whereupon  Myriel  sadly  goes  away,  and 
Auburn  stealthily  comes  up,  and  vainly  makes 
an  attempt  to  free  her.  He  acknowledges 
that  it  was  she  who  in  the  past  was  his  friend 
when  all  the  world  reviled  him  and  he 
kneels  to  her.  Then  memory  returns  to  both, 
and  Auburn  murmurs  happily:  "My  Queen 
of  Fairyland !"  Meanwhile  day  has  come,  peo- 
ple wander  about ;  there  is  life  and  noise  in  the 
tavern,  and  when  Auburn  asks  Robin  to  pro- 
claim him  the  rightful  king,  Robin  is  ready  to 
do  so.  But  Corvain  comes  now  with  strong 
armed  support,  and  after  a  struggle  between 
him  and  Auburn,  the  latter  is  seized  and  con- 
demned to  share  the  fate  of  Rosamund.  Auburn 
is  fastened  to  the  stake  alongside  of  the  girl. 
At  the  last  moment  when  Rosamund  in  sym- 
pathy and  pity  lays  her  hand  upon  Auburn's, 
the  fairy  rose  blooms  afresh,  the  common  people 

659 


The  Standard  Operaglass 

change  to  fairies,  and  before  them  the  soldiers 
retreat,  the  nuns  lay  down  the  crozier,  and  the 
flames  of  the  fagots,  already  kindled  to  consume 
those  two,  die  down.  Their  chains  fall  away, 
and  they  are  placed  on  a  throne  and  clad  in 
costly  robes.  They  have  attained  rulership  in 
Fairyland  and  are  forever  happy. 


LA  FETE  CHEZ  THEKESE 

Operatic  comedy  in  two  acts  by  VICTOE  HAHN 
Text  after  a  Parisian  vaudeville 

This  was  first  produced  in  Paris,  1910. 

Act  I.  A  charming  young  duchess  during  a 
visit  at  her  modiste's,  accidentally  meets  an  at- 
tractive young  man,  but  in  a  wholly  informal 
manner.  While  waiting  for  the  appearance  of 
her  dressmaker,  she  casually  inspects  the  con- 
tents of  the  room,  and  in  doing  so  she  peeps 
around  a  long  mirror.  Her  eyes  meet  those  of 
the  young  man,  evidently  admiring  her.  But 
the  young  duchess  does  not  feel  like  adventures 
that  day,  and  so  she  hurries  away  without  fur- 
ther ado. 

Act  II.  But  she  has  not  reckoned  with  the 
young  man,  for  he  has  become  enamored  of 
her,    and    therefore    introduces    himself    at    a 

660 


La  Fille  De  Madame  Angot 

masquerade  ball.  She,  however,  still  pur- 
sues the  same  tactics :  she  runs  away  from  him. 
He  is  persistent,  and  in  a  second  disguise  pre- 
vails upon  the  duchess  to  grant  him  at  last  a 
meeting.  But  now  that  things  begin  to  be  seri- 
ous the  modiste  herself  takes  a  hand.  She  calls 
upon  the  duchess,  and  although  the  latter  is 
her  best  customer,  she  successfully  appeals  to 
her,  making  it  plain  that  the  young  man  is  her 
betrothed.    The  duchess  relinquishes  him. 


LA  FILLE  DE  MADAME  AXGOT 

Comic  Opera  in  three  acts  by  LECOCQ 
Book   by    GIRARDIN,    CLAIRVILLE    and    KONAG 

The  first  production  took  place  in  Brussels, 
1872.  Scene,  Paris,  and  time,  1797,  during  the 
French  Directorate. 

The  first  act  takes  place  at  a  corner  of  the 
central  market  in  Paris.  Madame  Angot  is  a 
politically  influential  leader  of  the  Dames  des 
Halles,  who  during  the  horrors  of  the  Eevolu- 
tion  played  quite  a  part.  She  with  her  fol- 
lowing is  in  opposition  to  the  present  govern- 
ment of  which  Barras  is  the  head.  Her 
daughter,  Clairette,  is  on  the  point  of  being 
married  to  Pomponnet,  a  smirking  hairdresser 
whom  she  does  not  love,  since  her  fickle  heart  is 

661 


The  Standard  Operaglass 

for  the  time  being  in  the  keeping  of  Ange  Pitou, 
a  young  and  enterprising  poet  and  author  of 
popular  ballads.  Ange  just  then  has  written  a 
song  in  which  he  has  ridiculed  the  recognized 
mistress  of  Barras,  the  actress  Mademoiselle 
Lange,  who  is  also  the  pet  of  the  Paris  audi- 
ences, and  in  which  he  dwells  on  this  young 
lady's  desperate  flirtations  with  a  citizen  of 
substance,  M.  Larivaudiere.  Clairette  is  much 
opposed  to  wedding  Pomponnet,  and  sees  only 
one  way  out  of  it, —  to  get  herself  locked 
up  for  the  grave  offense  of  singing  this  lam- 
pooning song  of  Ange's  making.  So  she  goes 
out  into  the  street  and  sings  the  ballad. 

The  second  act  occurs  in  the  drawing  room 
of  Mile.  Lange.  That  young  woman  is  the 
owner  of  a  lively  sense  of  humor,  and  so  being 
informed  of  the  attack  made  upon  her  reputa- 
tion and  of  the  arrest  of  Clairette,  she  has  the 
prisoner  brought  before  her.  Pomponnet,  who  is 
waiting  on  her  as  one  of  his  most  valued  cus- 
tomers, is  anxious  to  shield  Clairette,  assuring 
the  theatrical  star  that  she  is  innocent,  and  that 
only  the  anonymous  author  of  the  scurrilous 
sheet  is  the  culprit.  When  Clairette  is  brought 
before  her,  the  actress  at  once  identifies  her  as 
a  friend  of  her  childhood,  with  whom  she  at- 
tended school  and  perpetrated  impish  tricks. 
So.    Mile,    Lange,    out    of    the    goodness    of 

662 


La  Fille  De  Madame  Angot 

her  heart,  takes  an  interest  in  the  lively  girl,  and 
tries  to  procure  not  alone  her  freedom,  but  also 
promises  to  bestir  herself  in  her  behalf,  so  that 
the  girl  will  marry  the  man  of  her  own  choice, 
not  knowing,  however,  that  that  would  be  Ange 
Pitou,  in  which  young  man  she  herself  is  more 
than  slightly  interested.     It  so  happens  that 
Ange  Pitou,  who  frequently  pays  visits  to  the 
actress,  is  an  invited  guest  of  hers  that  day. 
He  arrives  while  Mile.  Lange  is  still  engaged 
in  retrospect  and  conversation  with  Clairette. 
Another  guest  is  Larivaudiere,  to  quell  whose 
instantly    aroused    jealousy    she    invents    the 
fiction  that  Ange  Pitou  has  come  to  pay  his 
addresses  to  Clairette,  and  that  he,  too,  is  to 
join  a  body  of  conspirators  who  are  to  meet  at 
her  house  at  midnight  in  a  plot  to  overturn  the 
existing   government.      Then    Pomponnet, .  al- 
though wholly  harmless,  is  arrested  for  having 
on  his  person  a  copy  of  the  prohibited  ballad. 
At  the  appointed  hour  the  conspirators  all  ar- 
rive at  the  place  of  meeting,  and  then  it  is  dis- 
covered that  this  house  is  surrounded  by  a  de- 
tachment of  hussars  who  have  through  a  private 
source    received    trustworthy    information    of 
the  dark  plot.    But  at  a  previously  agreed  signal 
all   the   conspirators   hide  their   insignia,   and 
Mile.  Lange  herself  fools  the  soldiers  sent  out 
to  bag  all  those  present  by  pretending  that  what 

663 


The  Standard  Operaglass 

is  going  on  is  a  wedding  ball  and  reception  in 
honor  of  Clairette  and  Ange  Pitou.  In  the 
course  of  the  festivity,  however,  Clairette  and 
the  actress  find  out  that  they  both  love  the 
same  man,  namely,  Ange  Pitou. 

In  Belleville,  a  suburb  of  Paris,  a  garden 
party  is  given,  the  grounds  being  splendidly  lit 
up  for  a  ball.  Clairette,  who,  after  all,  had  to 
serve  a  short  term  in  jail,  has  obtained  her 
liberty,  and  now  is  trying  to  ascertain  whether 
Mile.  Lange  and  the  young  poet  are  really  in 
love  with  each  other  or  merely  coquetting.  So 
she  has  despatched  three  letters,  whereof  one  is 
supposed  to  be  from  Ange  Pitou  to  the  actress, 
the  other  from  the  latter  to  the  poet,  and  a 
third  to  Larivaudiere,  appointing  for  them  all  as 
meeting-place  this  very  rustic  fete.  So  the 
young  poet  meets  Mile.  Lange  and  is  caught 
by  Clairette.  There  is  a  short-lived  quarrel  be- 
tween the  young  ladies  for  the  possession  of  the 
poet,  which  winds  up  sensibly  enough  by  Clair- 
ette's  abandoning  all  hope  of  securing  Ange,  and 
rewarding  the  steady-going  and  ever  faithful 
hairdresser  with  her  hand. 


664 


Francesca  Da  Rimini 
FRANCESCA  DA  RIMINI 

Tragic  Opera  in  five  acts.     The  book  based  on  the 
drama  by  GABRIELE  D'ANNUNZIO 

Music  composed  by  R.  ZANDONAI 

This  work  was  first  produced  in  1914,  at 
Turin,  and  the  scene  is  laid  in  Ravenna  and 
Rimini,  during  the  thirteenth  century. 

The  first  act  occurs  at  Ravenna.  Four 
.female  attendants  of  Francesca  are  conversing 
with  a  jester  who  has  arrived  at  the  castle  of  the 
Polentani.  He  is  told  that  their  master,  Guido 
da  Polenta,  intends  to  give  his  beautiful 
daughter,  Francesca,  to  one  of  the  sons  of 
Malatesta  of  Yerucchio.  The  jester  replies  that 
he  is  to  sing  at  the  wedding  festivities.  Ostasio 
is  heard  approaching,  and  the  women  save  them- 
selves. Ostasio  is  accompanied  by  the  no- 
tary, to  whom  he  explains  his  plans.  Fran- 
cesca is  to  wed  Gianciotto  Malatesta,  a  cripple 
of  evil  mind  and  looks,  since  the  hand- 
some brother,  Paolo,  i3  already  married.  But 
Paolo  is  to  be  sent  to  represent  his  brother,  and 
Ostasio,  who  knows  his  high-spirited  sister  well, 
urges  haste  before  Francesca  learns  the  full 
truth.  The  notary  falls  in  with  the  scheme,  and 
they  further  discuss  the  political  advantages  to 
accrue  to  the  Polentani  family  by  means  of  this 
projected  union.    But  Ostasio  is  not  quite  satis- 

665 


The  Standard  Operaglass 

fied  with  the  terms,  for  he  considers  them  un- 
fair. After  they  leave  Francesca  and  her  sister 
Samaritana  enter,  and  the  former  gives  expres- 
sion to  her  forebodings.  News  is  brought  of 
the  arrival  of  Francesca's  betrothed,  and  in  fear 
and  trembling  she  goes  to  meet  him.  It  is,  of 
course,  Paolo,  and  they  look  upon  each  other  in 
silence,  Francesca  finally  plucking  a  red  rose 
and  handing  it  to  him  as  a  love  token. 

On  a  strong  tower  of  the  Malatesta  fortalice- 
the  Malatesta  are  preparing  for  battle  with  their 
Ghibelline  foes.  Francesca  has  meanwhile  be- 
come the  spouse  of  Giovanni,  the  cripple,  and 
now  lives  with  the  latter  and  his  young 
brother,  the  one-eyed  Malatestino,  at  Eimini. 
She  treasures  wrath  at  Paolo  for  his  part  in 
misleading  her  into  her  first  belief  that  he, 
Paolo,  was  to  be  her  husband,  and  feels  she  can- 
not forgive  him  for  what  she  deems  his  decep- 
tion. Paolo  enters,  and  despite  her  attempts  to 
avoid  him,  follows  her  steps,  and  makes  a  con- 
fession to  the  effect  that'he  feels  bitter  shame  at 
the  part  he  was  iorced  to  play  in  deceiving  her. 
Francesca,  as  punishment,  exacts  from  him  a 
promise  that  he  will  fight  without  helmet  or 
shield,  thus  leaving  the  issue  of  the  ordeal  to 
God.  Fighting  begins,  and  when  imminent 
danger  threatens  Paolo  because  of  his  agree- 
ment with  her,  Francesca  rushes  out  to  shield 

666 


Francesca  Da  Rimini 

him  with  her  own  body,  love  for  him  having 
suddenly  entered  her  heart.  After  the  fighting 
has  ceased,  it  is  found  that  Paolo  is  uninjured, 
and  to  Francesca  this  seems  like  a  message  from 
on  high  that  she  may  now  hold  Paolo  in  her 
bosom  as  immaculate.  His  brother  Gianciotto 
enters,  upbraiding  his  men  fiercely  for  what  he 
holds  their  lack  of  valor.  He  announces  to  his 
brother  that  envoys  from  Florence  have  come  to 
summon  Paolo  there,  since  he  has  been  chosen 
for  a  high  post  of  command  in  that  city,  and 
that  therefore  he  must  leave  at  once. 

Francesca  within  the  security  of  her  sumptu- 
ously furnished  chamber  is  discovered  in  the 
third  act  reading  aloud  to  her  women  the  story 
of  Lancelot  and  Queen  Guinevere,  and  after  dis- 
missing them  Paolo  enters.  Paolo  has  been 
driven  there  from  Florence  by  his  unappeased 
longing  for  Francesca.  While  they  make  every 
effort  to  suppress  their  mutual  passion,  it  is 
constantly  felt  by  both  of  them.  Finally  they 
begin  to  read  together  the  story  of  Guinevere, 
each  taking  the  corresponding  part.  When  they 
reach  the  passage :  "  She  takes  him  by  the 
chin  and  slowly  kisses  him  on  the  mouth,"  they 
suit  the  action  to  the  words. 

In  the  next  act,  the  fourth,  the  young  brother, 
Malatestino,  is  seen  talking  with  Francesca,  and 
suddenly  he  owns  to  an  overwhelming  passion, 

667 


The  Standard  Operaglass 

for  her.  Knowing  that  she  hates  her  husband, 
he  offers  to  get  rid  of  him  for  her  by  poison. 
Francesca  is  aghast  at  the  youth's  schemes,  but 
in  pity  for  his  tender  years  is  willing  to  forgive 
him.  She  hears  a  terrible  cry,  and  the  young 
man  informs  her  it  comes  from  an  imprisoned 
foe,  one  who  is  waiting  to  be  ransomed.  Mala- 
testino  goes  out,  saying  he  will  silence  the  noise. 
He  returns  and  finds  his  brother  Gianciotto  who 
asks  what  he  is  concealing  under  the  folds  of  a 
cloth.  It  is  the  head  of  the  foe,  whom  he  has 
decapitated.  When  his  elder  brother  reproaches 
him  for  this  act  and  shows  besides  some 
suspicion  of  him,  Malatestino  tries  to  save  him- 
self by  making  dark  insinuations  against  Paolo 
and  Francesca.  Gianciotto's  jealousy  is  roused 
and  he  decides  on  a  plan  by  which  he  hopes  to 
surprise  his  brother  and  his  wife,  and  to  lull  the 
latter's  uneasiness  he  tenderly  bids  her  farewell, 
and  then  starts  out  ostensibly  for  Pesaro. 

The  fifth  act  takes  place  in  Francesca's  apart- 
ments, where  her  women  are  watching  and  she 
herself  is  fitful  and  restless.  At  last  she  dis- 
misses all  attendants,  and  after  they  are  gone 
she  opens  her  door  to  Paolo.  The  lovers  em- 
brace, and  later  on  read  and  talk  together.  But 
without  warning  the  deformed  husband  is  heard 
shouting  for  admission,  and  Paolo  hastily  seeks 
a  hiding-place,  going  down  a  few  steps  to  a 

668 


tjermama 

trapdoor.  The  angry  husband  discovers  him, 
however,  and  flings  himself  with  a  naked  sword 
upon  him.  Francesca  rushes  between  them  to 
save  Paolo  and  is  mortally  hurt  in  doing  so. 
Paolo  receives  her  in  his  arms  and  Gianciotto 
stabs  him  likewise.  Then  Gianciotto  breaks  his 
own  sword. 


GERMANIA 

Dramatic     Opera     in     four     acts     by     ALBEETO 
FRANCHETTI 

The  libretto  is  by  LUIGI  ILLICA 

This  work  was  first  produced  at  Milan,  in 
1902.  The  action  is  supposed  to  take  place  in 
various  parts  of  Germany.    The  time  is  1806. 

Act  I  shows  an  old  mill  in  Nuremberg,  which 
has  been  dismantled  and  fitted  up  by  a  band 
of  men,  secretly  organized  to  resist  the  power 
of  Napoleon,  as  a  printing  plant  to  distribute 
propaganda.  Palm,  the  leader  in  these  attempts 
to  resist  Napoleon's  sway,  is  being  hotly  pur- 
sued by  the  French  police,  but  has  so  far 
escaped  them.  He  goes  on  writing  pamphlets 
against  Napoleonic  rule.  The  printed  matter 
is  surreptitiously  sent  out  in  sacks  in  the  guise 
of  flour.  Worms,  who  has  charge  of  the  print- 
ing press,  is  accused  by  Eicke,  his  sweetheart, 

669 


The  Standard  Operaglass 

of  being  a  traitor  to  the  cause  of  liberating  Ger- 
many. Loewe,  Eicke's  former  lover,  is  expected 
back  almost  immediately,  and  Worms  by  fierce 
threats  attempts  to  cow  the  girl  into  submis- 
sion to  his  plans. 

In  Act  II  the  scene  changes  to  the  Black 
Forest,  where  Loewe,  Eicke,  and  some  of  their 
friends  seek  shelter  in  a  deserted  mountain 
cabin.  Loewe  has  been  added  to  the  list  of 
proscribed  felons  after  Napoleon's  most  recent 
victories.  Eicke,  who  has  not  the  courage 
to  speak  of  her  past  relations  with  Worms, 
has  promised  to  marry  Loewe.  But  just 
as  the  simple  wedding  ceremony  has  been  per- 
formed by  the  clergyman,  Worms  mysteriously 
appears  and  summons  Loewe  to  an  important 
rally  of  the  fraternity.  Eicke  fears  evil  conse- 
quences from  this  summons ;  she  disappears  and 
in  a  note  begs  her  young  husband  not  to  try  and 
find  her  hiding-place.  In  casting  about  for  an 
explanation  for  all  this  mystery,  Loewe  acci- 
dentally is  told  by  Eicke's  small  sister  of  the 
true  state  of  the  case. 

Act  III  transpires  at  a  secret  hall  in  Koenigs- 
berg,  where  those  opposed  to  Napoleonic  su- 
premacy hold  an  important  meeting.  They 
discuss  plans  to  defeat  the  invader  of  their 
country.  One  man  alone,  who  stands  at  a  dis- 
tance closely  masked,  takes  no  part.     This  in- 

670 


The  Girl  of  the  Golden  West 

truder  is  Loewe  and  he  threatens  Worms  with 
a  violent  death.  The  quarrel,  however,  is 
stopped  by  others. 

Act  IV  takes  place  on  the  battlefields  of 
Leipsig.  The  whole  plain  is  covered  with  the 
bodies  of  the  slain.  Ricke  is  there  among  those 
who  seek  their  loved  ones  and  finds  at  last 
not  only  the  corpse  of  her  husband,  Loewe,  but 
also  that  of  "Worms,  her  lover. 


THE  GIRL  OF  THE  GOLDEN  WEST 

A   Sentimental    Opera   in   three   acts   by   GIACOMO 

PUCCINI 

Text  by  DAVID  BELASCO 

This  opera  was  performed  for  the  first  time 
in  Xew  York,  in  1910.  The  book  is  based  on 
an  Italian  drama  by  Zangarini  and  Civinini. 
The  scene  of  the  action  is  a  mining  camp  in 
California,  during  the  gold  fever  of  1849-50. 

When  the  curtain  rises  a  number  of  miners 
are  seen  in  a  barroom,  among  them  Jack 
Ranee,  the  sheriff.  Ashby,  agent  of  the  Wells- 
Fargo  Company,  appears  and  declares  that  he  is 
on  the  track  of  Ramirez,  chief  of  a  band  of  Mexi- 
can outlaws  who  committed  a  big  robbery  some 
time  before.     Ranee  in  talking  with  the  other 

671 


The  Standard  OperaglasS 

men  brags  of  his  relations  with  Minnie,  saying 
she  is  on  the  point  of  manning  him.  A  miner 
takes  exception  to  this,  and  there  is  a  brawl 
when  Minnie  herself  enters  and  stops  it.  Min- 
nie with  the  aid  of  an  assistant,  runs  the  bar- 
room, as  she  is  the  orphan  child  of  a  man 
who  had  started  the  place  and  died  there.  When 
Ranee  tries  to'  make  good  his  claim  on  her, 
Minnie  scorns  him,  threatening  her  importunate 
suitor  with  a  revolver.  A  stranger  enters,  giv- 
ing his  name  as  Dick  Johnson,  from  Sacra- 
mento. The  sheriff  suspects  him,  but  Minnie 
takes  his  part,  alleging  that  she  met  him 
before.  The  stranger  in  reality  is  none  other 
than  the  sought-for  Ramirez  and  has  come 
to  rob  the  saloon.  Minnie  does  not  know 
this  and  rehearses  with  Dick  the  events  of 
their  first  meeting  when  they  both  fell  in 
love  with  each  other.  Dick,  who  is  not  without 
some  good  points,  becomes  more  and  more  enam- 
ored of  the  girl  and  makes  up  his  mind  to  re- 
linquish his  plan  of  robbing  the  place.  After 
Minnie  and  the  others  have  gone  to  the  dance 
hall,  Jose  Castro,  a  member  of  Ramirez'  band, 
is  brought  in  a  prisoner,  captured  by  Ashby's 
men.  The  men  are  in  favor  of  "  stringing  up  " 
Castro,  who  volunteers  to  lead  them  to  the 
hiding-place  of  his  chief,  Ramirez,  for  he 
has  recognized  the   latter's   horse   and  saddle. 

672 


The  Girl  of  the  Golden  West 

A  strong  body  of  men  go  in  search  of  Dick, 
or  Eaniirez,  and  meanwhile  they  leave  their 
hoard  of  gold  dust  in  Minnie's  charge,  with 
only  Nick,  the  bartender,  and  Billy  Jackrabbit, 
the  Indian,  to  help  protect  it.  Minnie  says  that 
anyone  wishing  to  steal  the  gold  of  the  miners 
must  do  so  over  her  dead  body.  Dick  (Ramirez) 
admires  her  courage.  Minnie  invites  him  to 
pay  her  a  visit  at  her  "  shack  "  later  on,  when 
the  miners  shall  have  returned,  and  he  accepts 
and  walks  out. 

In  Act  II  while  the  Indian  squaw  is  rocking 
her  baby,  Minnie  and  the  Indian,  Billy,  enter 
the  cabin,  and  Minnie  adorns  herself  as  best 
she  may  in  honor  of  the  visitor  whom  she 
graciously  entertains.  They  plight  their  troth, 
and  when  a  sudden  snowstorm  surprises  them, 
she  invites  her  lover  to  spend  the  night  at  the 
cabin.  Suddenly  in  the  darkness  outside  shots 
are  heard.  Dick  swears  they  shall  not  take  him 
alive.  Nick,  the  bartender,  is  searching  for 
Minnie  and  calls  out  her  name.  She  hides 
Dick  and  then  admits  Nick,  Eance,  Ashby,  and 
a  number  of  miners.  They  are  looking  for  Dick, 
whom  they  know  to  be  near  and  whom  they 
have  discovered  to  be  Eamirez.  Minnie,  how- 
ever, declines  the  protection  of  any  men  against 
the  robber  chief  and  the  men  all  leave. 
Then  she  faces  Ramirez — Dick — with  the  reve- 

673 


The  Standard  Operaglass 

lations  the  men  have  made,  and  Dick  acknowl- 
edges the  facts,  but  explains  how  he  drifted  into 
his  lawless  life.  Minnie  cannot  overlook  his 
having  deceived  her  after  confessing  his  love 
and  sends  him  out  of  the  cabin  into  the  night. 
He  goes  in  a  desperate  mood  and  soon  after 
shots  are  heard  outside.  Minnie  opens  her  door 
and  drags  in  Dick,  seriously  wounded,  hiding 
him  in  a  hayloft  under  her  roof.  The  sheriff 
follows  in  search  of  the  fugitive,  and  Minnie 
has  almost  overcome  his  suspicions,  when  a 
drop  of  blood  falls  on  his  hand  from  the 
wounded  man  above  his  head,  and  he  discovers 
Dick.  As  a  last  resort  Minnie,  knowing  Ranee 
to  be  a  desperate  gambler,  offers  to  play  with 
him  at  a  game  of  draw-poker,  the  stakes  to  be 
either  Dick  and  her  own  hand,  or  else  Dick's 
freedom.  They  play,  and  Minnie  cleverly  cheats 
and  wins  the  hand.  Eance  is  as  good  as  his 
word,  and  leaves  her  in  possession  of  the  field. 
The  last  act  is  on  the  fringe  of  the  great  Cali- 
fornia forest,  it  being  early  dawn,  and  Eance, 
Ashby,  and  Nick  waiting.  Ranee  stands  telling 
how  Dick  has  been  nursed  back  to  life  and 
health  by  his  faithful  Minnie,  when  Dick  is 
brought  in  by  Ashby's  men.  He  is  fettered,  in 
soiled  and  tattered  clothing,  and  the  men  now 
surround  him  and  cruelly  jest  about  the  fate 
awaiting  him.    Dick  nevertheless  is  defiant  and 

674 


Les  Girondins 

prepares  to  die.  As  the  only  favor  he  re- 
quests that  they  never  tell  Minnie  how  he 
died.  But  Minnie  herself  rushes  in  on 
horseback  just  when  the  lynchers  are  about 
to  draw  the  noose  of  the  rope  taut.  She 
gets  in  front  of  the  condemned  man  and 
with  her  drawn  gun  holds  the  crowd  at  bay, 
while  Eance  chafes  and  foams  in  impotent  rage. 
She  strongly  appeals  to  them  all,  reminds  them 
how  she  has  always  cared  for  them  faithfully, 
and  how  they  must  not  fail  her  now  in  their 
turn.  Her  natural  eloquence  wins  them  at  last 
to  her  side,  and  despite  the  sheriff's  objections 
they  cut  the  rope,  turn  Dick  loose,  and  restore 
him  to  Minnie,  who  bids  them  farewell. 


LES  GIRONDINS 

Tragic  Opera  in  four  acts  by  YVES  LE  BORNE 
Text  by  P.  CHABRIER  and  A.  PETIT 

The  first  performance  of  this  opera  took  place 
at  Lyons,  France,  1905. 

The  first  act  discloses  a  plot  at  the  home  of 
Jean  Duclos,  one  of  the  leading  deputies  of 
the  Gironde  to  the  French  national  convent  at 
Paris,  its  object  being  to  punish  Varlet,  a 
traitor  to  the  cause  of  his  party.  Varlet  has 
meanwhile  secured  the  aid  of  the  terrorist  sec- 

675 


The  Standard  Operaglass 

tion,  especially  of  Eobespierre,  whose  agents 
force  their  way  into  the  house.  Duclos  is 
arrested  and  carried  off  to  prison.  Varlet  seeks 
Laurence,  the  mistress  of  Duclos,  for  it  was 
to  possess  himself  of  her  that  he  caused  Duclos's 
arrest,  but,  he  assures  her  if  she  will  give  up 
Duclos,  he  will  be  liberated  forthwith. 

During  the  second  act  Varlet  confers  with 
Eobespierre  as  to  the  arrest  of  the  whole  Giron- 
dist faction  in  the  convention.  Varlet  counsels 
that  all  of  them  be  gathered  in,  and  Eobespierre, 
with  a  fatal  smile,  decides  to  that  effect. 
Eichard,  a  Jacobin  of  the  extreme  wing,  accom- 
panied by  Laurence  is  sent  with  an  order  from 
Eobespierre  freeing  Duclos.  Varlet  corroborates 
the  order  that  Duclos  is  to  be  discharged. 
Snatching  away  the  document  and  hiding  it  in 
her  bosom,  Laurence  instantly  shoots  down 
Varlet. 

Duclos  and  Fonfrede,  Girondist  leaders,  to- 
gether are  looking  for  Laurence.  The  Jacobin 
Eichard,  informs  them  of  Laurence's  call  on 
Varlet.  Duclos's  suspicion  is  aroused  that  he 
owes  his  freedom  to  Laurence's  sacrifice,  and 
he  purposely  insults  Eobespierre,  seeking  death 
thereby.  Eichard  returns,  saying  that  Varlet 
is  merely  wounded,  not  killed.  The  rabble  of 
Paris  cries  out  against  the  Girondists,  demand- 
ing their  destruction.    Laurence,  meeting  at  last 

676 


Griselidis 

her  lover  Duclos,  affirms  her  fidelity  and 
offers  to  go  with  him  to  the  scaffold.  Varlet  ap- 
points Richard  chief  jailer,  while  Artemise,  the 
mistress  of  Richard,  begs  of  him  the  release  of 
Duclos  and  Laurence. 

The  fourth  act  occurs  at  the  Bastille  prison, 
whither  Laurence  has  been  permitted  to  go  by 
Richard,  with  his  secret  connivance  in  case  she 
wants  to  save  Duclos,  whom  she  finds  there. 
They  perfect  their  arrangements  for  flight 
from  the  place,  but  on  the  point  of  escaping 
they  both  hear  the  farewell  hymn  sung  by  the 
chorus  of  Girondists  and  they  consider  it 
ignoble  to  flee.  Thus  they  remain  to  die  for 
their  country  with  their  comrades. 


GRISELIDIS 

Romantic  Opera  in  three  acts  by  J.  MASSENET 
Text  based  on  chronicles  of  the  Provence 

This  work  was  first  presented  at  Paris,  1901. 
The  scene  is  the  south  of  France. 

Act  I.  Time,  14th  century.  The  shepherd 
Alain  and  the  shepherdess  Griselidis,  herding 
their  flocks  and  piping  their  lays  together,  are 
vastly  in  love  with  each  other.  But  the  powerful 

677 


The  Standard  Operaglass 

and  wealthy  Marquis  de  Saluzzo  comes  between 
them,  and  Griselidis  listens  to  his  voice,  and 
jilts  her  Alain.  In  due  time  a  son  is  born  to 
her,  who  is  christened  Loys.  Just  at  this  time 
the  marquis  feels  an  overpowering  desire  to 
fight  the  infidels.  The  priest  tries  hard  to  dis- 
suade him  from  this  adventure,  but  he  will  not 
heed.  In  his  arguments  with  the  marquis  the 
priest  has  much  to  say  about  the  devil  and  his 
cunning  schemes  for  leading  men  and  par- 
ticularly women  astray.  Long  absence  of  her 
lord  would  not  be  good  for  Griselidis.  How- 
ever, the  marquis  goes  forth  to  fight  the 
Saracens  and  leaves  his  charming  wife  to  all 
the  temptations  the  devil  can  devise.  So  sure 
of  his  wife  is  the  marquis  that  he  even  hands  the 
devil  his  wedding  ring,  a  very  foolish  thing  for 
a  departing  husband  to  do. 

Act  II.  The  scene  changes  to  a  pretty 
garden  overlooking  the  sea.  The  devil  and  his 
wife  (Fiamina)  argue  with  Griselidis  that  the 
latter  should  become  housekeeper  during  the  ab- 
sence of  the  marquis.  After  settling  this  point 
Fiamina  facilitates  the  appearance  at  the  castle 
of  Alain,  one-time  wooer  of  Griselidis,  who 
makes  good  use  of  his  opportunity.  But  in  the 
nick  of  time  Loys,  the  baby  son  of  Griselidis, 
saves  his  mother  from  infidelity  and  perdition. 
At  this  the  devil  is  so  wroth  that  he  seizes  the 

678 


Griselidis 

little  fellow   and  runs   off  with  him   to   parts 
unknown. 

Act  III.  However,  his  satanic  majesty  keeps 
on  tempting  the  pretty  grass  widow.  His  next 
move  is  an  offer  from  him  to  return  the  child 
to  the  mother  if  she  will  but  give  him  a  kiss, 
one  measly  little  kiss.  Griselidis  is  in  doubt; 
she  hesitates.  But  again  chance  favors  her,  for 
her  truant  husband,  the  marquis,  returns  from 
fighting  the  Saracens  precisely  at  the  time  when 
the  devil  has  left  to  the  young  wife  only  the 
above  alternative.  The  marquis  is  mightily 
aggrieved  at  the  disappearance  of  his  son  and 
heir  and  makes  up  his  mind  to  search  for  him 
high  and  low.  The  devil,  however,  causes  his 
weapons  to  vanish  without  which  in  those  days 
searching  parties  could  not  get  along.  There- 
upon he  and  his  wife,  scenting  something 
fiendish,  begin  to  pray  earnestly.  Then  the 
triptych  over  the  altar  opens,  and  lo !  the  boy 
walks  out  of  it. 


679 


The  Standard  Operaglass 


GWENDOLINE 

Tragic  Opera  in  two  acts  by  EMANUEL  CHABRIER 
Text  by  MARTEATJ  and  SIMON 

This  opera  was  first  performed  at  Paris,  in 
1893. 

Act  I.  Harald,  king  of  the  Vikings,  has  made 
war  upon  the  Saxons  under  Armel  whom  he 
has  conquered  and  condemned  to  execution. 
But  the  victor  sees  Armel's  fair  daughter, 
Gwendoline,  the  first  woman  he  has  ever  beheld, 
and  to  him,  matchless.  Instantly  his  savage 
nature  undergoes  a  radical  change.  He  feels  a 
deep  and  pure  affection  for  Gwendoline  and 
asks  her  to  wed  him.  With  her  father's  consent 
Gwendoline  accepts  Harald  as  her  future  hus- 
band. But  Armel  secretly  gives  instructions 
to  his  men  to  slaughter  the  Danes  at  the  mar» 
riage  feast  when  they  will  be  disabled  by  drink. 

Act  II.  This  transpires  in  the  bridal  chamber, 
whither  Armel  has  followed  the  bride.  He 
hands  her  a  sharp  dagger,  exacting  a  promise 
that  she  will  slay  the  sleeping  Harald  as  the 
foe  of  her  people.  She  refuses  to  comply,  and 
at  the  cry  of  the  Danes  she  gives  the  weapon 
to  her  husband  and  remains  by  his  side. 
But  in  the  last  scene,  at  sea,  the  Saxons  kill 

680 


La  Habanera 

all  the  Danes  and  Harald  falls  by  the  hand  of 
Armel.  Gwendoline  stabs  herself  over  hia 
corpse. 

LA  HABANERA 

Tragic  Opera  in  three  acts  by  JUAN  LAPARRA 
Text  by  C.  PETIT  and  M.  BOISVENT 

This  work  was  first  heard  at  Paris,  1908. 
The  scene  is  Spain. 

Act  I.  At  a  tavern.  There  is  first  a  noisy 
drinking  scene  and  next  a  love  duet  between 
Pedro  and  his  betrothed,  Pilar.  Then  Pilar 
hurries  off  to  join  a  group  of  dancers  in  the 
street  who  are  performing  the  Habanera. 
Ramon,  brother  of  Pedro,  secretly  infatuated 
with  his  brother's  fiancee,  provokes  a  violent 
quarrel  with  Pedro  and  finally  stabs  him  to 
death. 

Act  II.  The  murder  has  remained  a  mystery, 
for  nobody  suspects  Eamon.  In  a  courtyard  are 
assembled  the  father  of  the  two  brothers,  Pilar, 
Ramon,  and  several  neighbors,  all  of  them 
speaking  of  the  young  man's  death  with  deep 
regret.  Ramon,  in  order  to  hide  his  guilt  the 
better,  has  sworn  to  his  father  to  avenge  the 
death  of  his  brother.  Again  the  company  dance 
the  Habanera,  and  in  the  midst  of  them  appears 
Pedro's  ghost,  but  visible  only  to  the  murderer, 

681 


The  Standard  Operaglass 

to  whom  he  whispers  that  if  the  truth  is  not 
confessed  by  the  following  day,  his  sweetheart 
Pilar,  madly  beloved  by  Ramon,  shall  die. 

Act  III.  This  act  occurs  in  a  cemetery. 
Flowers  are  placed  on  the  tombs  by  a  number 
of  mourners.  Pilar  and  Ramon  are  among 
them.  After  the  others  are  gone  Ramon  is 
courting  Pilar,  who  wavers  in  her  mind. 
But  suddenly  the  remembrance  of  the  day  be- 
fore comes  back  to  Ramon,  and  he  finally  con- 
fesses that  he  killed  his  brother  Pedro.  Pilar 
is  unable  to  bear  the  truth  and  sinks  dead  on 
the  grave  of  her  dead  lover,  Pedro.  Ramon 
himself  rushes  madly  off  the  scene  as  the  cur- 
tain falls. 


HENRY  VIII 

Opera  in  four  acts  by  CAMILLE  SAINT-SAENS 
The  libretto  is  based  on  English  sources 

This  interesting  opera  was  first  produced  in 
Paris,  in  1883,  but  for  unknown  reasons  has  not 
often  been  given  elsewhere. 

The  first  act  shows  a  hall  in  Westminster. 
The  Spanish  ambassador,  Gomez,  acknowledges 
to  the  Duke  of  Norfolk  that  he  is  insanely  en- 
amored of  Anne  Boleyn,  a  fact  of  which  Queen 
Catherine    is    aware.     He    adds   that   he   has 

682 


Henry  VIII 

in  his  possession  a  letter  from  Anne  wherein 
she  confesses  her  love  for  him.  Xorfolk 
tells  him  to  beware,  for  King  Henry  him- 
self is  smitten  with  the  charms  of  the  fair 
Anne.  Xews  comes  that  King  Henry  has  con- 
demned the  Duke  of  Buckingham  to  die.  When 
the  king  enters  all  save  Gomez,  Norfolk,  and 
Surrey  leave  the  hall.  Henry  speaks  of  the 
new  maid  of  honor,  Anne  Boleyn,  to  the  great 
consternation  of  Gomez.  There  is  a  change  of 
scene.  Henry  converses  with  Surrey  concerning 
the  Pope's  unwillingness  to  grant  him  a  divorce. 
Catherine  is  summoned  and  dares  to  inter- 
cede for  Buckingham.  The  king  refuses;  she 
chides  him  for  his  lack  of  consideration  towards 
herself,  whereupon  he  retorts  that  morally  their 
married  union  has  been  wrong  from  the  first. 
When  Anne  Boleyn  presents  herself,  the  king 
is  assiduous  in  his  attentions  to  her  and  makes 
her  Marchioness  of  Pembroke.  From  outside 
come  the  sounds  of  the  funeral  march  for  Buck- 
ingham, who  has  just  been  executed.  Anne 
says  this  is  a  fateful  omen. 

Act  II  takes  place  at  Richmond  Park,  where 
Gomez  appears,  soon  followed  by  Anne,  who  is 
accompanied  by  a  number  of  ladies.  She  ex- 
presses her  love  for  Gomez.  But  the  king  pur- 
sues her  and  to  his  wooing  Anne  makes  reply 
that  she  will  marry  him  if  he  will  make  her 

683 


The  Standard  Operaglass 

queen.  The  king  promises.  Queen  Catherine 
strongly  reproves  Anne  for  her  godless  ambition, 
but  she  is  obdurate  and  turns  to  King  Henry 
asking  him  to  help  her  out  of  her  straits.  A 
royal  messenger  arrives  in  great  haste  from 
Koine, —  the  bearer  of  evil  news.  However, 
Henry  postpones  receipt  of  his  message  until 
the  next  day  and  bids  those  present  to  enjoy 
the  moment  with  dancing  and  banqueting. 

In  the  third  act  Henry  confers  with  the 
legate  from  Eome,  who  upholds  the  spiritual 
suzerainty  of  the  Pope,  which  is  met  by  Henry 
with  bold  defiance.  Anne  Boleyn  enters  and 
Henry  betrays  jealousy  of  her  very  palpably. 
After  more  talk  with  the  papal  legate  Henry 
threatens  to  make  a  direct  appeal  to  his  sub- 
jects, announces  himself  head  of  the  Church  in 
England,  and  makes  Anne  his  wife. 

The  fourth  act  passes  in  the  apartments  of 
the  new  queen,  where  Norfolk  and  Surrey 
are  discussing  the  suspicions  which  the  king  has 
of  her.  Gomez  brings  a  singular  letter  to  the 
king  from  the  former  queen,  Catherine, 
who  is  still  in  possession  of  the  com- 
promising letter  from  Anne.  Henry  rages  and 
bids  Anne  to  quit  his  presence  and  Gomez  to 
leave  England.  A  change  of  scene.  Catherine, 
who  is  dying,  with  her  last  strength  casts  Anne's 
love  letter  into  the  fire. 

684 


Ins 

IRIS 

A   Tragic   Opera   in   three   acts   by   PIETRO   MAS- 

CAGNI 

Book  by  LUIGI  ILLICA 

This  work  was  first  performed  at  Rome,  in 
November,  1898,  and  was  revised  a  year  later. 
The  scene  of  the  opera  is  Japan  and  the  time 
is  the  present. 

The  first  act  shows  a  Japanese  garden,  where 
a  hymn  is  sung  to  the  sun,  as  the  cause  of  all 
life.  Iris  and  her  blind  father  are  there.  The 
latter  listens  with  pleasure  to  the  prattle  of  the 
little  girl,  who  is  playing  with  her  doll.  There 
enters  Osaka,  a  libertine,  who  desires  the  young 
girl  for  his  evil  purposes.  Kyoto  is  bribed  by 
him  to  arrange  for  the  abduction  of  Iris.  She 
is  attracted  away  from  her  other  companions, 
who  are  washing  soiled  linen  by  the  river  front, 
in  order  to  attend  a  puppet  show  gotten  up  by 
Kyoto,  and  then  is  seized  by  men  and  carried 
off,  while  a  sum  of  money  is  left  behind  for  the 
father  to  bind  the  bargain  and  make  it  legal. 
Geishas  are  fluttering  all  about  Iris  during  the 
6cene  of  abduction,  and  her  father,  the  blind 
old  man,  is  given  strong  evidence  that  Iris 
really  went  voluntarily  to  Kyoto's  house  of 
6hame.  The  deserted  father,  forced  to  believe 
this,  pronounces  a  solemn  curse  on  the  head  of 

685 


The  Standard  Operaglass 

his  daughter,  and  becomes  a  strolling  vagabond 
upon  the  face  of  the  earth. 

In  the  second  act  the  scene  is  a  yoshiwara, 
and  Iris,  slumbering  while  other  geishas  strum 
the  lute  and  softly  sing  a  plaintive  melody, 
Osaka  makes  his  entrance,  and  bargains  with 
Kyoto  for  possession  of  Iris.  Kyoto  demands 
a  high  figure  for  Iris,  and  after  some  haggling 
Osaka  agrees  to  the  terms,  because,  as  he  puts 
it,  Iris  is  a  "  creature  with  a  soul."  When 
Iris  wakes  she  finds  herself  in  a  wonderful,  a 
lovely  place,  where  all  is  perfume  and  song. 
And  as  Osaka  first  approaches  her  she  is  un- 
aware of  his  purpose  and  salutes  him  as  a  son 
of  light.  Kyoto  becomes  wearied  of  the  poor 
girl's  complete  innocence  and  bids  the  keeper 
of  the  place  to  take  her  away.  Besides,  he  also 
orders  his  geishas  to  robe  Iris  in  transparent 
veils  and  thus  to  expose  her  to  the  gaze  of  the 
passers-by.  Osaka's  pity  is  aroused  and  he 
promises  Kyoto  his  own  price.  During  this 
auction  the  victim  herself  still  remains  com- 
pletely ignorant  of  its  true  meaning.  And 
towards  its  end  her  blind  father  appears  as 
one  of  the  crowd  surrounding  the  show  window, 
and  his  daughter  shouts  with  joy  at  seeing  him, 
but  the  blind  man  hurls  mud  at  her  and  heaps 
curses  upon  her.  Iris,  not  having  the  key  to 
it  all,  sinks  to  the  ground  with  despair,  and 

686 


Iris 


flings  herself  down  a  precipice,  being  thought 
to  be  killed  by  the  fall. 

In  Act  III  is  seen  a  huge  heap  01  garbage, 
on  the  outskirts  of  the  city.  In  rumaging 
through  it  the  ragpickers  discover  the  body  of 
Iris,  clothed  in  its  finery,  and  the  men  scatter 
and  run  away  in  fright.  But  Iris  is  not  yet 
dead.  Voices  seem  to  come  to  her  from  a 
distance  and  murmur  phrases  that  she  is  dimly 
aware  to  have  heard  before  but  not  understood. 
She  hears  Osaka  telling  her  that  she  is  perish- 
ing as  a  flower  that  sheds  its  fragrance  only  in 
death.  She  hears  her  father  justifying  him- 
self. She  wonders  what  it  all  means.  She  re- 
members her  own  hymn  to  the  sun,  as  the  cause 
of  all  life,  and  thus  she  passes  away  —  the 
refuse  becomes  a  flowery  path,  and  her  soul 
hovers  over  it  all  in  light  and  gladness. 


687 


The  Standard  Operaglass 
THE  JEWELS  OF  THE  MADONNA 

Dramatic  Opera  in  three  acts.    Music  by  ERMANNO 
WOLF-FERRARI 

Book  by  C.  ZANGARINI  and  E.  GOLISCIANI 

First  performance  at  Berlin,  1911.  The 
scene  is  Naples  of  the  present  day.  The  plot  is 
simple,  hinging  on  a  popular  superstition  of  the 
lower  class  Neapolitans,  and  on  the  jealousy  be- 
tween a  wayward  girl's  two  lovers. 

In  Act  I  it  is  the  afternoon  of  a  great  proces- 
sion in  honor  of  the  Holy  Virgin.  Maliella, 
beautiful  and  high-spirited,  but  a  creature  of 
impulse  alone,  escapes  from  her  quiet  home, 
with  dress  disordered  and  hair  flying,  in  order 
to  join  a  joyous  crowd  dancing  and  shouting 
on  a  small  public  square  near  the  sea,  and 
awaiting  the  passing  of  the  festival  procession. 
Gennaro,  her  foster-brother,  who  secretly  adores 
her,  has  followed  her  from  his  home,  and  en- 
deavors to  induce  her  to  come  back  with  him. 
She  indulges  in  banter  and  flatly  refuses  to 
obey,  then  sings  a  song  of  challenge,  in  which 
she  dares  the  youths  present  to  rob  her  of  a  kiss. 
She  resents  Gennaro's  interference,  and  he 
vainly  tries  to  control  her  reckless  gaiety.  On 
the  square  meanwhile  a  dance  is  improvised, 
and  Maliella  rushes  into  the  crowd  where  she 
disappears  for  the  moment  from  view.      Raf- 

688 


The  Jewels  of  the  Madonna 

faelle,  one  of  the  chief  Camorrists  of  Naples, 
notices  the  girl  as  she  goes  whirling  in  the 
mazes  of  the  dance,  and  tries  to  seize  and  sub- 
due her.  She  pushes  him  back,  however,  and 
when  he  uses  physical  force  to  make  her  do  his 
bidding,  she  stabs  him  with  her  silver  hairpin, 
wounding  him  in  the  hand.  Instead  of  re- 
proaching her,  the  Camorrist  chief  laughs, 
kisses  the  wound,  and  then  picks  up  a  flower 
and  flings  it  so  it  falls  into  her  bosom.  But 
Maliella  takes  out  the  flower  and  casts  it  on 
the  ground,  trampling  on  it.  Now  the  pro- 
cession comes  in  sight,  and  while  the  others 
kneel  Eaffaelle  remains  by  the  side  of  the  girl, 
pleading  his  love  with  her.  As  the  image  of 
the  Madonna  passes  by,  adorned  and  loaded 
with  precious  stones,  he  whispers  to  her  that  to 
win  her  love  he  is  even  ready  to  risk  his  soul 
by  snatching  the  jewels  of  the  Madonna  from 
its-  neck  and  placing  it  around  her  own  fair 
shoulders.  But  Maliella  is  terrified  at  the 
thought,  and  shrieks  out  her  horror.  Eaffaelle 
and  his  criminal  followers  merely  laugh  her  to 
scorn,  while  she  runs  off  towards  home.  He 
follows  and  as  she  is  about  to  enter  the  house 
again, -he  throws  another  flower  at  her,  which 
this  time  she  receives  in  thoughtful  mood, 
places  between  her  lips  and  goes  within. 

The  second  act  passes  at  the  house  of  Car- 

689 


The  Standard  Operaglass 

mela,  mother  of  Gennaro  and  Maliella's  foster- 
mother,  on  the  evening  of  the  same  day.  The 
festival  is  not  yet  over,  and  Carmela  soon  leaves 
them  to  retire.  Gennaro  left  alone  with  Ma- 
liella, pleads  his  passion  to  her  and  vows  his 
devotion.  But  the  girl  is  wearied  with  it. 
She  complains  of  the  monotonous  life  she  is 
condemned  to  lead  in  her  humble  home,  and 
taunts  Gennaro  with  the  daring  and  generosity 
shown  by  the  Camorrist  lover,  telling  him  at 
last  of  the  supreme  proof  of  affection  offered 
by  him  to  her,  namely,  the  purloining  of  the 
very  jewels  of  the  Madonna  for  her  sake.  She 
threatens  to  leave  her  home  for  good.  Gennaro 
begs  for  a  farewell  kiss,  but  the  girl  scornfully 
denies  it,  and  speaks  once  more  in  high  praise 
of  Eaffaelle.  To  cut  short  his  weary  plaints 
the  girl  escapes  from  him,  and  Gennaro  now 
indulges  his  bitter  reflections.  It  seems  to  him 
that  nothing  can  win  the  love  of  Maliella  save 
the  very  thing  the  Camorrist  boasted  of  in  ad- 
vance, and  he  reaches  the  resolution  to  forestall 
Eaffaelle  and  do  the  thing  himself  which  the 
other  merely  meant  to  do.  Maliella  comes 
back,  and  he  takes  keys  and  his  blacksmith 
tools  with  him,  locks  the  garden  gate,  and 
leaves.  Eaffaelle  arrives  at  the  outside  of  the 
house  to  serenade  the  girl,  bringing  with  him 
a  host   of  his  friends   and  fellow-Camorrists. 

690 


The  Jewels  of  the  Madonna 

The  music  and  the  words  draw  the  girt  into 
the  garden,  and  the  two  embrace  through  the 
bars  of  the  garden  enclosure,  avowing  their 
mutual  love.  But  Gennaro  returns,  pallid  and 
sombre,  and  Raffaelle  leaves  the  field  to  him. 
When  she  asks  him  the  meaning  of  it  all,  Gen- 
naro places  the  jewels  of  the  Madonna  around 
her  neck,  and  after  a  moment's  hesitation 
Maliella  looks  at  the  glittering  gems  admiringly 
in  the  pale  moonlight,  and  rejoices  at  possession 
of  them. 

The   last   act   occurs   the  next   day,   at    the 
rendezvous  of  the  Camorrists,  where  men  and 
women    are    holding    high    revel.      Some    are 
alseep ;  and  others  are  one  by  one  returning  from 
some  secret  expedition.     Raffaelle  appears  with 
some  of  his  close  friends,  and  is  greeted  with 
shouts  of  applause.      A  while  after  he  sings  a 
song   in   praise   of   Maliella   and   her   charms, 
whereat   the   women   grow   furious.      Dancing 
follows,  which   degenerates   into   a  wild   orgy. 
Maliella,  invited  to  join  Raffaelle  there,  now 
rushes  in  in  desperation,  and  on  being  asked 
the  reason,  confesses  to  the  ownership  of  the 
far-famed   jewels    of    the   Madonna.      All   are 
horror-struck    and    call    her   accursed.      When 
Raffaelle  hears  that  Gennaro  is  the  malefactor 
he  summons  his  men  and  tells  them  to  bring 
him  in  dead  or  alive, —  to  capture  him  at  all 

691 


The  Standard  Operaglass 

costs.  Then  Gennaro  himself  enters,  half 
demented,  and  is  spurned  alike  by  the  girl  and 
the  band  of  criminals.  The  girl,  in  an  access 
of  despair,  casts  herself  into  the  sea,  and  Gen- 
naro, after  adorning  afresh  the  image  of  the 
Madonna  with  the  stolen  jewels,  stabs  himself 
to  death  at  the  altar. 

LA  JOTA 

Tragic  Opera  in  two  acts  by  MANUEL  LAP  AREA 
Text  by  an  anonymous  Spanish  writer 

The  first  performance  of  this  work  occurred 
at  Paris  in  1911.  The  theme  of  the  text  is 
taken  from  the  Carlist  wars  in  Northern  Spain, 
and  the  name  of  the  opera  is  that  of  a  well- 
known  Spanish  dance. 

The  scene  of  the  first  act  is  Anso,  a  place  in 
the  Spanish  Pyrenees,  and  the  time  is  1835. 
Juan  Zumarragua  is  a  Basque,  and  though  he 
is  the  lover  of  Soledad,  a  Spanish  girl,  he  will 
not  deny  his  race  for  love  of  her.  They  argue 
and  quarrel  on  this  point,  and  are  about  to 
separate,  but  finally  there  is  a  reconciliation, 
and  they  embrace.  Juan,  however,  is  sum- 
moned to  arms,  as  the  Carlist  War  has  broken 
out.  He  follows  the  call,  intending  to  do  his 
duty  as  a  soldier.    So  the  two  dance  a  last  jota 

together    and    then    bid    each    other    good-by 

692 


Koenigskinder 

Soledad,  however,  has  bewitched  Mosen  Jago, 
a  curate,  who  in  vain  attempts  to  save  himself 
from  the  enthralment  of  her  beauty. 

In  the  second  act  the  Carlist  forces  have 
reached  Anso,  and  the  church  building  itself 
has  been  destroyed.  The  curate  and  his  flock 
are  crowded  within  around  the  shrine  of  the 
Virgin,  but  outside  Soledad  leads  the  attack, 
and  the  curate  is  defeated  with  his  men.  Among 
the  victorious  Carlists  is  also  Juan.  He  ha? 
had  to  fight  against  his  own  brothers  and 
friends.  Soledad  herself  meets  her  lover  in  the 
throng,  and  there  is  a  reunion.  The  curate  is 
nailed  to  the  cross  by  the  Carlists. 


KOENIGSKINDER 

Fairy  Opera  in  three  acts  by  EXGELBEET  HUM- 
PEEDIXCK 

Book  by  ERNEST  HOSMER 

First  production  in  New  York,  1910.  The 
scene  is  at  Hellabrunn,  in  the  mountains  of 
Germany,  and  the  time  is  the  Middle  Ages. 

Act  I.  The  hut  and  garden  of  the  witch, 
situated  in  a  secluded  valley.  A  young  girl  is 
kept  prisoner  there  who  knows  nothing  of  her 
parentage.  A  spell  has  been  cast  over  the 
valley  by  the  witch,  so  that  the  girl  may  not 

693 


The  Standard  Operaglass 

run  away.  She  simply  tends  her  flock  of  geese, 
and  dreams  of  the  unknown  world.  Because  of 
this  the  witch  charges  her  with  idleness,  and 
orders  her  to  knead  the  dough  for  the  magic 
bread  which  never  grows  stale  and  will  some 
day  bring  death  to  whosoever  eats  it.  The  girl 
reluctantly  obeys.  Next  the  girl  returns  to  the 
open,  and  there  she  meets  a  man,  a  stranger, 
the  first  one  who  ever  succeeded  in  coming  so 
far.  He  turns  out  to  be  the  prince,  son  of  the 
king  sent  into  exile.  The  two  recognize  each 
other  as  "  King's  Children."  When  he  invites 
her  to  come  with  him  into  the  big  world  out- 
side, she  finds  she  cannot  follow  him  because 
of  the  spell  cast  on  her  and  the  valley.  But 
the  prince  is  unable  to  fathom  the  girl's  mean- 
ing and  hence  goes  away  in  angry  mood.  The 
king  has  died,  and  a  delegation  from  Hella- 
brunn  arrives  inquiring  of  the  witch  who  is  to 
be  the  next  ruler.  He  who  at  noon  to-morrow 
ehall  knock  first  at  the  city  gate,"  she  replies. 
One  of  the  delegation,  the  fiddler,  lingers  and 
takes  the  goose  girl  with  him,  although  the 
witch  curses  him  for  doing  it. 

Act  II.  At  the  gates  of  Hellabrunn  the 
municipal  authorities  are  waiting  for  the  ful- 
filment of  the  prophecy.  In  the  crowd  is  also 
the  king's  son,  clad  in  rags,  for  he  has  been 
toiling  at  common  labor.      At  the  stroke   of 

694 


Koenigskinder 

noon  the  goose  girl  with  her  geese  demands 
admittance  at  the  gate.  Seeing  her  the  prince 
bounds  forward  with  the  cry :  "  My  queen  !  " 
But  the  magistrates  laugh  these  two  to  scorn, 
and  turn  them  away. 

Act  III.  It  is  winter,  and  the  hut  of  the 
witch  is  all  buried  in  snow  and  desolate,  for 
the  people  in  their  rage  have  burned  the  witch 
herself.  Only  the  fiiddler,  lame  and  decrepit, 
has  there  found  a  refuge.  The  prince  and  his 
goose  girl,  after  having  vanished  for  so  long, 
appear  together  and  apply  at  the  hut  for  ad- 
mittance. It  is  denied  them  by  a  woodcutter, 
who  sells  them  a  loaf  of  bread,  the  same 
poisoned  loaf  which  never  grows  stale.  The  two 
"King's  Children"  die  from  it.  They  are 
buried  together,  and  now  they  lie  in  a  grave 
dug  on  the  summit  of  the  mountain.  There 
they  dream  of  those  other  "King's  Children" 
who,  almost  every  day  in  the  week,  perish  be- 
cause they  go  unrecognized. 


695 


The  Standard  Operaglass 
KUHEEIGEN 

(Ranz  de  Vaches) 

Two-act  Opera  by  WILHELM  KIENZL 

This  work  was  first  performed  in  Vienna  in  1911 

Act  1. —  During  the  French  revolution  the 
army  was  forbidden  to  sing  a  certain  Swiss 
air  —  the  Kuhreigen,  or  Ranz  de  Vaches  — 
which  often  caused  the  desertion  of  Swiss 
volunteers  in  the  ranks  of  the  French,  since  it 
made  them  homesick  and  melancholy.  One  of 
the  Swiss  soldiers  is  about  to  be  shot  for  dis- 
obeying the  order,  when  a  powerful  marquise 
takes  an  interest  in  his  case  and  brings  about 
his  pardon,  making  him  overseer  of  her  estates. 
Act  2. —  Later  on,  when  under  the  Terror  both 
the  marquise  and  her  husband  are  sentenced 
by  the  Revolutionary  tribunal  to  be  beheaded, 
the  grateful  overseer  exerts  himself  to  the 
utmost  to  save  his  benefactress,  but  she  scorns 
such  plebian  aid  and  prefers  to  mount  the  scaf- 
fold with  a  mocking  smile. 


696 


A  Life  for  the  Tsar 
A  LIFE  FOR  THE  TSAR 

Russian  Historical  Opera  in  four  acts  and  an  epilogue 
by  M.  I.  GLINKA 

Text  after  MerimeVs  "  Les  Faux  De*m£trius  " 

When  Dehn,  Glinka's  teacher,  told  the  latter : 
"  Go  and  write  Russian  music,"  the  Russian 
opera  did  not  exist.  Glinka  not  only  composed 
real  Russian  music  for  this  opera,  but  also  took 
his  facts  for  the  book  from  Russian  history. 
The  period  of  Russian  history  ensuing  on  the 
death  of  Ivan  the  Terrible  and  lasting  until  the 
accession  of  Michael  Romanov,  is  known  as  the 
Time  of  Trouble,  culminating  in  the  reign  of 
the  usurper  Boris  Godounov.  Russia  was  be- 
set on  all  sides  by  cruel  foes,  of  whom  the  Poles 
were  the  most  formidable.  It  is  on  this  state 
of  affairs  that  the  curtain  rises. 

The  first  act  occurs  in  a  village  where  Ivan 
Soussanin,  a  simple  but  heroic  peasant,  lives 
with  his  daughter  Antonida  and  his  son  Vanya. 
A  celebration  is  going  on  to  mark  the  approach- 
ing end  of  the  long  struggle  with  Russia's 
enemies.  Antonida  rapturously  gazes  in  the 
direction  whence  she  expects  the  return  from 
the  wars  of  her  lover  Sobinin.  The  father, 
however,  is  still  oppressed  with  fear  that  all  is 
not  going  well.  Sobinin  arrives  and  gives  an 
account,  from  which  it  seems  that  a  Tsar  has 

697 


The  Standard  Operaglass 

been  chosen  at  last.  Thereupon  Soussanin  con- 
sents to  the  marriage,  long  delayed,  of  his 
daughter  with  the  warrior  Sobinin. 

The  second  act  takes  us  to  Poland,  where  the 
nobles,  confident  of  vanquishing  the  Russians, 
are  reveling.  Towards  the  close  of  the  feast- 
ing, however,  a  messenger  arrives  bearing  new3 
of  the  retreat  of  the  Polish  forces  and  of  the 
election  of  a  national  Russian  for  Tsar. 

The  third  act  strikes  a  high,  note  of  patriot- 
ism, although  its  background  is  humble.  In 
the  izba,  or"  hut,  of  the  peasant  Soussanin  we 
see  in  progress  general  rejoicings.  A  chorus 
of  peasants,  singing  some  wonderful  folksongs, 
Soussanin,  Yanya,  and  the  pair  of  lovers,  all 
participate  in  the  merrymaking.  This  scene 
is  interrupted  by  the  noise  of  approaching 
soldiers.  It  is  a  detachment  of  approaching 
Polish  soldiers,  and  these  burst  into  the  izba  a 
moment  later.  The  intruders  are  on  the  march 
to  Moscow  whence  they  reckon  on  bringing  back 
the  newly  elected  Tsar  as  a  prisoner.  Being, 
however,  unacquainted  with  the  road  they  force 
Soussanin  to  act  as  their  guide.  The  latter, 
scenting  the  imminent  danger  to  his  new 
sovereign,  resolves  to  lead  the  Polish  forces 
astray.  Lulling  the  foes  into  false  security,  he 
seizes  an  opportunity  before  leaving  his  cabin 
to  whisper  instructions  to  his  son  Vanya,  tell- 

698 


A  Life  for  the  Tsar 

ing  him  to  hasten  with  all  speed  to  the  retreat 
of  the  Tsar  and  acquaint  him  with  the  circum- 
stances, enabling  him  to  forestall  the  danger. 
Soussanin  then  leaves  with  the  Poles.  An- 
tonida's  young  playmates  enter  singing  a 
nuptial  song  and  find  her  in  deep  grief. 
Sobinin,  on  arriving,  is  also  made  acquainted 
with  the  state  of  things,  and  at  once  determines 
on  pursuit  of  the  enemy  forces. 

The  fourth  act  is  divided  into  three  scenes. 
Sobinin  and  his  men  are  seen  hunting  for  traces 
of  the  enemy.  The  second  scene  discovers 
young  Yanya  at  the  monastery  of  Kostroma, 
where  Michael  Eomanov,  the  newly  chosen 
Tsar,  has  taken  refuge.  Help  is  summoned  to 
warn  the  Tsar  and  his  followers  of  the  approach- 
ing enemy.  Then  the  Polish  band  is  seen  led 
by  Soussanin.  He  has  taken  them  to  a  marshy 
forest  where  snow  is  falling  fast.  The  night  is 
beginning  to  close  in,  and  the  Poles  suspect  that 
they  have  been  betrayed  by  their  guide.  -They 
encamp  while  the  sleepless  Soussanin  prepares 
for  death.  A  storm  arises  and  during  its  roar 
the  patriotic  peasant  prays.  He  now  scorns  to 
dissemble  any  longer,  feeling  sure  that  his  lord, 
the  Tsar,  must  now  have  attained  shelter  from 
his  foes.    At  the  first  dawn,  therefore,  he  boldly 

owns  up  to  having  betrayed  the  enemies  of  his 

699 


The  Standard  Operaglass 

country,  whereupon  they  fall  upon  him  and  put 
an  end  to  his  life. 

The  epilogue  is  acted  on  the  famous  Eed 
Square  of  Moscow.  A  crowd  of  jubilant  Rus- 
sians sing  the  magnificent  "  Slavsya  "  chorus, 
acclaiming  the  newly  crowned  monarch. 
Among  them  are  Antonida  and  Vanya.  To- 
gether they  intone  one  of  the  finest  pieces  of 
music  in  the  opera,  the  unrivaled  trio.  The 
curtain  drops  amid  loud  acclaims. 


LOBETANZ 

A  Fairy  Opera  in  three  acts  by  LUDWIG  THUILLE 
Text  by  OTTO  JULIUS  BIBRBAUM 

The  first  production  of  this  work  was  at 
Mannheim,  Germany,  1898.  The  scene  is  laid 
in  Germany,  during  the  Middle  Ages. 

In  the  first  act  a  garden,  with  adjoining 
palace,  is  seen.  There  is  a  festival  of  song, 
on  a  sunny  day  of  spring,  and  joy  unrestrained 
reigns.  Girls  dance,  strew  roses,  and  chant 
pleasant  ditties.  Lobetanz,  a  homeless,  wan- 
dering troubadour,  happens  along,  and  drawn 
by  all  this  gayety,  ventures  into  the  garden. 
His  garments  are  torn,  and  he  himself  is 
famished,  but  his  faithful  violin  he  carries  with 
him,  and  the  joyous  maidens,  seeing  he  can  play 

700 


Lobetanz 

for  their  dancing,  invite  him  to  join  in  their 
revel.  They  tell  this  strolling  musician  that 
the  king  has  set  aside  this  day  for  singing  and 
general  rejoicing,  hoping  that  thus  his  daughter, 
who  has  been  ailing  with  a  mysterious  com- 
plaint, may  find  a  cure.  It  appears,  they  say, 
that  all  the  physicians  of  the  country  have  been 
unable  to  reach  the  seat  of  her  malady,  and  that 
only  a  song  touching  her  heart  may  heal  her. 
Therefore  the  poets  and  composers  and  min- 
strels of  the  entire  realm  have  been  bidden  to 
do  their  utmost.  Lobetanz  is  urged  to  attempt 
a  song.  He  looks  down  at  his  tattered  clothing, 
and  says  that  he  alas,  is  no  fit  company  for 
royalty.  He  even  tries  to  hide  when  a  gorgeous 
procession,  headed  by  the  king  himself,  is  seen 
approaching.  The  sympathetic  damsels,  telling 
him  to  pluck  up  courage,  hide  the  minstrel's 
shabby  clothes  with  garlands  of  roses,  just  be- 
fore the  royal  party  reaches  the  spot.  Courtiers 
and  harpers,  flutists  and  fiddlers,  poets  and 
rhymesters  do  their  best,  but  the  princess,  in- 
different to  their  efforts,  remains  listless  and 
melancholy.  Still  others  try  their  skill,  violently 
quarreling  about  their  precedence.  Of  a  sudden 
the  soft,  sweet  strains  of  a  violin,  coming  from 
a  leafy  bower,  arrest  her  attention,  and  she  is 
spellbound  by  the  lay.  When  the  last  notes 
float    away,    she    begs    the    musician    may    be 

701 


The  Standard  Operaglass 

brought  to  her.  Lobetanz  is  dragged  out  of  his 
hiding  place,  and  the  princess  is  charmed  with 
him.  Next  she  begs  him  to  sing  to  her,  and 
when  he  intones  a  rare  melody,  the  princess 
faints  from  sheer  excess  of  delight.  There  is  an 
uproar,  ending  with  the  minstrel's  being 
charged  with  black  art.  In  the  confusion,  how- 
ever, Lobetanz  slips  off  unobserved. 

The  second  act  happens  in  the  forest,  where 
Lobetanz  has  found  shelter  in  the  cabin  of  the 
gamekeeper.  Lobetanz  seeks  repose  in  the  shade 
of  a  far-spreading  lime-tree,  and  while  asleep 
there  a  raven  pounces  upon  his  cap,  and  car- 
ries it  off  toward  hangman's  hill.  The  forester, 
his  friend,  tells  the  waking  man  of  this  inci- 
dent, and  augurs  ill  therefrom,  but  the  laugh- 
ing minstrel  scorns  the  omen.  Then  along 
comes  the  princess,  taking  the  fresh  air  in  the 
quiet  woods,  and  instantly  recognizes  her  un- 
known minstrel,  him  of  whom  she  has  been 
dreaming  all  along,  ever  since  the  day  he  sang 
to  her.  She  shows  her  delight  at  finding  him, 
and  they  confess  their  mutual  love.  This 
scene  is  cut  short  by  the  arrival  of  the  king 
with  his  retinue,  who  have  been  hunting  in  the 
glades.  Lobetanz  is  seized,  and  the  death 
sentence  is  passed  on  him  as  being  a  sorcerer, 

702 


Lobetanz 

to  the  utter  despair  of  his  sweetheart,  the 
princess. 

The  first  scene  of  the  third  act  shows  the 
dungeon  in  which  Lobetanz  is  chained  up  se- 
curely waiting  his  doom.  Some  of  his  fellow- 
prisoners  mock  him  for  his  presumption  in  dar- 
ing to  aspire  to  the  hand  of  a  princess,  but 
Lobetanz  keeps  his  air  of  serenity.  He  even 
is  handed  his  fiddle,  and  with  his  manacled 
hand  he  plays  a  hymn  to  Death,  while  the 
motley  crowd  about  him,  one  of  them  assum- 
ing the  character  of  the  grim  destroyer,  act  a 
gruesome  pantomine.  In  the  midst  of  the  noise 
the  executioner  comes  in,  claiming  Lobetanz  as 
his  prey. 

The  last  scene  is  enacted  on  hangman's  hill 
outside  the  town,  where  a  great  throng  has 
gathered  to  see  the  gay  minstrel  die.  The 
executioner  proclaims  publicly  why  Lobetanz  is 
to  be  put  to  death,  saying  that  only  the  de- 
linquent's blood  can  redeem  the  princess  from 
the  wicked  spell  that  she  is  suffering  under. 
The  princess  at  this  juncture  is  carried  to  the 
foot  of  the  gallows,  nearly  lifeless,  and  Lobe- 
tanz, seeing  her,  begs  as  a  last  favor  that  he 
may  play  one  more  tune  to  her.  After  some 
discussion  the  request  is  granted,  and  the  effects 
of  the  music  are  marvelous.  At  the  first  stroke 
of  the  bow  she  revives,  and  with  every  new  tone 

703 


The  Standard  Operaglass 

she  recovers  more  and  more.  When  the  music 
ceases,  the  princess  sits  up,  gazes  lovingly  at 
Lobetanz,  and  finally  stretches  out  her  arms  to 
him;  she  is  fully  recovered.  Her  royal  father 
instantly  grants  a  full  pardon  to  the  condemned 
man,  and  gives  his  consent  to  the  marriage  with 
his  daughter.  Minstrel  and  princess  join 
hands  and  blithely  lead  in  the  merry  dance 
that  follows,  a  dance  in  which  even  king  and 
hangman  take  part.  And  at  this  moment,  too, 
the  solemn  raven  that  had  carried  off  the  min- 
strel's cap,  drops  it  from  the  top  of  the  gallows. 
This,  the  old  cronies  aver,  means  the  height 
of  good  fortune,  and  no  longer  shameful  death. 
And  so  they  all  meander  forth. 


LORELEY 

Romantic  Opera  in  three  acts  by  ALFREDO  CATA- 

LANI 

Llbrette  by  A.  ZANARDINI   and  CARLO  D'ORMVILLB 

This  opera  was  first  heard  in  Chicago,  April, 
1919.  The  scene  is  laid  on  the  banks  of  the 
Rhine,  during  medieval  times. 

In  the  first  act  Walter,  the  governor  of  Ober- 
wesel,  meets  the  Loreley  wandering  the  shores 
of  the  river,  and  although  betrothed  to  Anna  of 
Rehberg,  niece  of  the  margrave,  he  is  smitten 

704 


Loreley 

with  a  sudden  passion  for  the  alluring  stranger. 
He  confides  the  facts  to  his  friend,  Herman, 
who  solemnly  urges  him  to  remain  faithful  to 
Anna,  although  he  himself  is  deeply  in  love 
with  the  latter  and  has  merely  yielded  to  his 
friend  heretofore  because  Anna  favored  him 
in  her  love.  But  Loreley  coming  in  search  of 
Walter,  hears  that  he  is  already  betrothed  to 
another,  and  swoons  at  the  news.  Herman, 
lamenting  that  he  has  yielded  up  Anna  to 
another,  appeals  to  the  god  of  the  Rhine  to 
avenge  Anna's  wrongs.  Loreley  seeks  the 
nymphs  of  the  river  and  the  spirits  of  the  air, 
who  all  are  singing  in  praise  of  Thor,  and  of 
the  river  god,  bemoaning  her  lost  chastity  and 
foretelling  revenge.  The  spirits  tell  her  that 
Alberich,  the  cunning,  godlike  dwarf,  can  assist 
her  by  rendering  her  irresistible  and  thus 
capable  of  torturing  the  faithless  one  with  new 
pangs  of  love.  But  she  must  swear  fidelity. 
She  does  so  and  rises  instantly,  transformed, 
with  golden  hair  and  wearing  the  golden  comb 
of  the  Loreley. 

The  second  act  transpires  in  front  of  the 
castle  of  the  margrave.  When  Walter  and  Anna 
are  both  on  their  way  to  church  to  be  married, 
they  are  confronted  by  Loreley,  who  appears 
in  a  mystic  light,  and  who  sjngs  her  song  of 
love  to  Walter.     He  casts  Anna  from  him,  and 

705 


The  Standard  Operaglass 

as  he  rushes  into  the  arms  of  Loreley,  she  eludes 
him,  plunging  into  the  Ehine  and  leaving  Wal- 
ter forlorn  on  its  bank.  As  Anna  falls  lifeless.. 
Loreley  reappears  on  the  rock. 

The  third  act  shows  the  obsequies  of  Anna. 
Walter  meets  the  mourning  procession,  and  be- 
ing informed  it  is  that  in  honor  of  Anna,  he  falls 
in  a  swoon  by  the  river,  and  as  he  wakes  he  sees 
Loreley  on  her  rock,  singing  her  song  of  love 
to  him.  As  she  is  about  to  embrace  him, 
threatening  voices  from  the  deep  remind  her 
of  her  oath  to  the  river  god.  She  tears  herself 
from  "Walter  and  returns  to  her  rock.  Walter, 
in  a  frenzy,  throws  himself  into  the  river,  and 
Loreley  sings  her  song  of  enticement  for  the 
last  time. 


MADAME  CHKYSANTHEME 

A  Eomantic  Opera  in  fours  acts,  with  epilogue  and 
prologue,  by  F.  MESSAGES 

Text  based  on  PIERRE  LOTI'S  tale  of  the  same  name 

The  lieutenant  and  his  faithful  Yves  are  on 
board  their  ship,  and  the  former  tells  of  his 
intention  of  contracting  a  temporary  marriage 
with  one  of  the  pretty  girls  at  Nagasaki,  a 
region  famed  for  its  lovely  women.  This  is 
the  prologue. 

706 


Madame  Chrysantheme 

Act  I.  Pierre  meets  Madame  Chrysantheme 
for  the  first  time.  M.  Kangourou,  a  matri- 
monial agent,  arranges  matters  and  the  bridal 
veil  is  handed  to  Chrysantheme. 

Act  II.  Pierre  and  his  bride  are  enjoying 
themselves  at  Mine.  Prune's  sunny  cottage,  and 
his  comrades  arrive  with  their  own  feminine 
charmers  and  serenade  him.  All  of  them,  in- 
cluding Mines.  Strawberry,  Daffodil  and  Cow- 
slip, stop  for  luncheon. 

Act  III.  There  is  a  festival  going  on  at  the 
house  of  Lieut.  Pierre,  and  little  Chrysantheme 
is  singing  her  best.  But  he  becomes  jealous, 
thinking  she  is  flirting  with  Yves  and  flies  into 
a  tremendous  rage,  which  results  in  a  serious 
quarrel  with  her. 

Act  IV.  A  peace  is  patched  up  between  the 
couple,  and  their  happiness  restored,  when  the 
boom  of  guns  aboard  ship  calls  the  lieutenant  to 
duty.  The  epilogue  is  again  between  the  lieu- 
tenant and  Yves,  who  both  mourn  for  little 
Chrysantheme. 


707 


The  Standard  Operaglass 

MADAME  SANS-GENE 

Historical     Opera     in     four     acts     by     UMBEETO 
GIOEDANO 

Text  by  RENATO  SIMONI,  after  a  play  by  VICTORIBN 

SARDOU 

The  first  production  of  this  work,  which  is 
really  a  "musical  comedy,"  so  colorful  and  in- 
teresting is  the  plot,  occurred  at  the  Metropoli- 
tan Opera  House,  New  York,  in  1915.  The 
scene  is  laid  partly  in  Paris  and  partly  in 
Compiegne,  and  the  action  stretches  over  a 
period  of  nineteen  years,  from  August  10,  1792, 
to  September,  1811.  The  opera  is  also  unique 
in  that  it  brings  the  great  figure  of  Napoleon 
on  the  stage  with  an  important  singing  part. 

The  first  act  takes  place  in  the  Paris  laundry 
of  Catherine  Huebscher,  the  Madame  Sans- 
Gene  of  history,  a  pretty,  frank  and  courageous 
figure  of  the  Napoleonic  era.  Although  the 
French  revolution  is  at  its  height  and  the  royal 
chateau,  the  Tuileries  is  being  stormed  by  the 
people,  work  goes  on  as  usual  at  the  laundry. 
Catherine  enters,  followed  by  an  amused  crowd, 
because  one  of  the  soldiers  in  the  streets  has 
kissed  her  against  her  will.  Triumphant  shouts 
are  heard  outside.  The  royal  residence  has  just 
been  taken,  and  both  king  and  queen  made 
prisoners.  Catherine  gives  her  laundry  girls  a 
holiday    to    rejoice    in    the    popular    victory. 

708 


Madame  Sans-Gene 

Fouche,  then  an  officer  in  the  National  Guards, 
but  later  police  minister  under  Napoleon,  is  in 
the  place  to  get  his  linen.  There  is  conversa- 
tion about  the  political  outlook,  Catherine's 
sweetheart,  Sergeant  Lefebvre,  and  a  third 
customer  of  Catherine's,  the  poverty-stricken 
artillery  lieutenant,  Napoleon  Buonaparte. 
Outside  the  noise  of  the  street  fighting  increases. 
Catherine,  from  pity,  finally  admits  a  wounded 
royalist,  Count  de  Neipperg  and  sends  him  to 
her  own  room  in  the  rear.  Her  lover,  Lefebvre 
rushes  in  precipitately  with  a  squad  of  soldiers, 
searching  for  a  royalist  fugitive,  the  very  one 
who  is  in  hiding  there.  Catherine  treats  the 
guests  to  wine,  but  the  sergeant  accidentally 
discovers  the  wounded  royalist  in  Catherine's 
chamber.  His  jealousy  is  roused  at  first,  but  he 
soon  convinces  himself  that  there  is  no  reason 
for  it. 

The  second  act  is  in  Compiegne,  in  Septem- 
ber, 1811,  and  Catherine,  although  still  as  "  free 
and  easy"  as  ever,  has  become  the  wife  of 
Lefebvre,  now  one  of  Napoleon's  great  generals 
and  created  Duke  of  Danzig.  She,  however, 
is  too  unceremonious  for  these  changed  times, 
and  Napoleon  has  found  fault  with  Lefebvre 
for  disgracing  his  court  by  the  many  blunders 
of  his  wife  regarding  court  etiquette.  Lefebvre 
and    Catherine    talk    things    over    and    resolve 

709 


The  Standard  Operaglass 

not  to  separate  in  any  event.  Catherine  is  just 
taking  a  belated  lesson  in  dancing  and  bowing 
from  Despreaux,  but  dismisses  the  dancing 
master  for  more  important  affairs.  Fouche, 
now  at  the  head  of  the  imperial  police,  comes 
and  advises  Catherine  and  her  husband  to  show 
more  circumspection  in  dealing  with  high  per- 
sonages, such  as  the  emperor's  sisters,  Queen 
Caroline  and  Princess  Elisa,  who  are  to  be  her 
guests  that  day.  Count  Neipperg  pays  a 
clandestine  visit  and  asks  advice.  He  says  he 
is  in  love  with  Napoleon's  wife,  Marie  Louise, 
and  has  been  banished  from  court  on  that  ac- 
count by  Napoleon.  He  is  told  to  forget  her, 
but  he  insists  on  paying  her  a  farewell  call  be- 
fore leaving  for  good.  Meanwhile  the  guests 
begin  to  arrive,  and  Catherine,  delayed  by  Neip- 
perg,  comes  late  in  receiving  them.  Napoleon's 
sisters  are  especially  angry  at  this  supposed 
slight,  and  treat  their  outspoken  hostess  with 
much  hauteur,  but  are  paid  back  in  kind.  The 
two  sisters  lay  their  complaint  before  the  em- 
peror, who  summons  Catherine  to  exculpate 
herself. 

This  she  does  in  the  third  act.  Catherine  is 
at  first  received  with  rigor  by  Napoleon.  But 
she  tells  him  precisely  how  she  was  provoked 
by  his  sisters  into  paying  them  in  their  own 
coin,  and  the  emperor  admits  she  was  justified. 

710 


Madame  Sans-Gene 

Then  she  draws  forth  from  her  bosom  a  soiled 
and  creased  bit  of  paper  and  presents  it  to 
Xapoleon.  It  is  an  old  bill  of  his  for  laundry 
work  done  by  her  for  him,  left  unpaid  during 
the  days  when  he  was  half  starving  in  a  Paris 
garret.  He  remembers  the  debt  and  its  cir- 
cumstances, and  recognizes  her  as  the  Madame 
Sans-Gene  of  those  days.  She  next  tells  him 
of  her  experience  as  Lefebvre's  wife,  how  she 
followed  him  and  the  army  in  several  campaigns 
as  vivandiere,  and  was  even  wounded,  exhibit- 
ing the  scar.  The  emperor  kisses  the  scar  and 
says  that  Lefebvre  ought  to  be  proud  of  such 
a  wife,  promising  that  she  shall  in  future  find 
full  recognition  at  his  court.  But  while  still 
talking,  they  both  notice  a  man  secretly  ap- 
proaching the  apartments  of  the  empress.  It 
turns  out  to  be  Xeipperg,  he  who  was  banished 
by  Napoleon  for  suspicious  behavior.  The  in- 
truder is  seized  and  sentenced  to  be  shot  at 
dawn  of  day,  although  he  is  the  Austrian  am- 
bassador. 

At  the  beginning  of  the  last  act  Napoleon  is 
seen  pacing  his  chamber  restlessly  when  Cath- 
erine requests  audience  with  him.  She  fur- 
nishes proof  that  Xeipperg  is,  after  all,  only 
suspected,  not  convicted,  of  any  serious  miscon- 
duct, while  there  is  not  even  a  shadow  of  evi- 
dence against  the  empress  herself.     She  pro- 

711 


The  Standard  Operaglass 

poses  a  test  of  Marie  Louise's  own  feelings  in 
the  matter.  Napoleon  adopts  her  stratagem, 
and  the  empress  proves  herself  innocent.  Neip- 
perg  is  freed  and  sent  home  to  Vienna,  and 
Catherine  herself  earns  the  emperor's  high 
praise. 


MADELEINE 

A  Lyrie  Opera  in  one  act  by  VICTOE  HEEBEBT 

Text  by  GRANT   STEWART,   being  based  on   a   French 

play 

This  was  first  produced  in  New  York,  1914. 
The  scene  is  Paris,  on  New  Year's  Day,  1760. 

At  her  luxurious  apartments  Madeleine 
Fleury,  the  great  diva  of  the  Paris  opera,  re- 
members suddenly,  when  a  load  of  costly  gifts 
from  her  admirers  is  brought  in,  that  it  is  New 
Year's  Day.  She  enjoys  these  attentions,  but 
the  thought  occurs  to  her  where  and  with  whom 
she  can  dine  that  day  in  a  manner  satisfactory 
to  herself.  One  by  one  her  friends  decline  her 
invitation.  Her  lover,  the  Chevalier  de  Mau- 
prat,  is  unable  to  do  so  because  on  that  day  he 
must  be  with  his  mother  at  home.  The  Duke 
d'Esterre  pleads  the  same  excuse,  and  even  her 
threat,  to  turn  to  his  rival,  Fontanges,  does  not 

712 


Madeleine 

alter  his  decision.  She  carries  out  this  inten- 
tion and  hastily  scribbles  off  a  note  to  Fon- 
tanges.  But  that  means  simply  another  re- 
fusal. Even  her  own  maid,  coquettish  Nichette, 
else  always  so  pliant,  at  the  risk  of  offending 
her  generous  mistress,  says  that  she  cannot  stay 
that  day,  because  she  has  previously  promised 
her  mother  to  dine  with  her. 

Madeleine  is  in  real  despair.  All  her 
blandishments  to  obtain  the  presence  of  some- 
one to  keep  her  company  on  the  most  joyous 
day  of  the  whole  year  are  wasted,  and  she  feels 
chagrined  and  outraged.  She  throws  herself 
on  her  divan  in  a  fit  of  sobbing  and  disguest, 
and  there  her  old  schoolmate  and  protege,  the 
impecunious  painter  Didier,  finds  her  in  a  tear- 
ful mood.  When  she  tells  him  the  cause  he 
replies  that  he  is  sorry,  for  he,  too,  must  dine 
on  that  day  with  his  poor  old  mother.  He  in- 
vites her,  however,  as  his  guest.  Madeleine  de- 
clines, and  when  Nichette  soon  after  comes  back, 
saying  that  her  mother  has  sent  her  to  keep  her 
mistress  company,  she  again  declines.  Instead 
the  operatic  star  takes  down  from  the  wall  a 
speaking  likeness  of  her  own  mother,  dead  some 
time  ago,  places  it  opposite  her  plate  on  the 
dining  table,  and  thus  also  finds  somebody  she 
loves  to  dine  with. 


7i3 


The  Standard  Operaglass 

MAKITANA 

Komantic  Opera  in  three  acts  by  ROBERT  C. 
WALLACE 

This  tuneful  and  interesting  work  was  first 
seen  in  London,  in  1845,  and  then  on  every 
stage  elsewhere,  particularly  America. 

The  scene  of  the  first  act  is  Madrid.  Charles, 
the  Spanish  King,  has  fallen  desperately  in  love 
with  a  charming  young  gypsy,  who  with  her 
band  sings  in  the  open  squares  of  the  city.  The 
royal  minister  of  state,  in  order  to  promote 
dark  plans  of  his  own,  heats  the  king's  fancy 
still  more,  dwelling  enthusiastically  on  the  girl's 
extraordinary  beauty  and  verve.  Don  Caesar, 
a  Spanish  noble  and  formerly  an  intimate 
friend  of  Jose,  the  minister,  is  seen  reeling 
out  of  a  tavern.  In  his  inebriated  condition  he 
espouses  the  cause  of  Lazarillo,  an  unfortunate 
waif,  and  this  involves  him  in  a  duel  for  which 
he  is  arrested  and  sentenced  to  death.  He  is 
incarcerated.  During  this  time  Don  Jose  has 
been  exercising  his  arts  on  Maritana,  the  gypsy 
girl,  telling  her  wonderful  tales  of  wealth  and 
a  great  marriage,  and  thus  spurring  on  her  am- 
bition. 

In  the  second  act  Don  Caesar  is  seen  in  the 
dungeon,  with  his  devoted  Lazarillo  asleep  be- 
side him.     He  is  to  be  executed  at  seven  in  the 

714 


Maritana 

morning,  and  it  is  now  live.  Don  Jose,  his 
false  friend,  enters  and  offers  his  services. 
Caesar  wishes  to  die  a  soldier's  death,  and  wants 
to  escape  the  gallows.  After  appearing  to 
hesitate,  Don  Jose  accedes  to  this  plea,  but  in- 
sists that  the  condemned  must  first  marry.  Don 
Caesar  declines,  but  is  finally  persuaded  to 
do  as  Jose  has  urged.  Although  royal 
clemency  has  not  yet  been  vouchsafed  and  Don 
Caesar  has,  therefore,  but  two  more  hours  to 
live,  the  nuptual  banquet  is  prepared,  and 
everything  got  ready  for  the  wedding  ceremony. 
Then  Lazarillo  enters,  bearing  the  king's 
pardon.  He  is,  however,  waylaid  by  the  cun- 
ning Don  Jose,  and  prevented  from  handing 
the  document  to  Don  Caesar.  The  bride, 
Maritana,  who  is  to  be  made  a  wife  of  con- 
venience, but  in  reality  the  mistress  of  the 
monarch,  enters,  and  just  as  the  priest  pro- 
nounces Don  Caesar  and  Maritana  duly  wedded, 
soldiers  come  in  for  the  carrying  out  of  the 
death  penalty  on  Don  Caesar.  However,  Laza- 
rillo,  his  humble  friend,  has  by  a  ruse  managed 
to  draw  the  bullets  from  the  rifles,  and  when 
the  shots  are  fired  Don  Caesar  falls  apparently 
lifeless.  Don  Caesar,  after  escaping  from 
prison,  goes  away  in  a  reckless  mood  to  attend 
a  gorgeous  ball  given  by  the  Marquis  de  Monte- 
fiori.      Maritana  is  there  palmed  off,  under  in- 

7i5 


The  Standard  Operaglass 

structions  from  Don  Jose,  as  his  niece.  When 
Don  Caesar  demands  Maritana  as  his  lawful 
wife,  the  minister  manages  to  spirit  her  away. 

The  last  act  shows  Maritana  in  the  royal 
palace,  where  she  has  been  taken  in  ignorance. 
Don  Jose,  in  the  belief  that  Don  Caesar  will  at 
least  not  dare  to  present  himself  in  the  royal 
palace,  introduces  the  king,  whom  he  attempts 
to  play  off  as  Maritana's  husband.  The  girl 
resents  this,  while  the  king  in  vain  flatters  and 
woos  her.  Caesar  at  this  juncture  breaks  into 
the  royal  closet  and  demands  his  wife,  the 
Countess  de  Bazan,  that  being  the  name  given 
Maritana  by  the  Marquis  de  Montefiori  on  in- 
structions from  Don  Jose.  The  king  retorts: 
l'I  am  Don  Caesar."  And  Don  Caesar  tops 
this  by  saying  "  I  am  the  king."  Then  comes 
word  from  the  queen  that  she  is  waiting  for 
the  king.  The  latter  hastens  away,  leaving  for 
the  moment  Don  Caesar  and  Maritana  together. 
Explanations  follow,  and  Don  Caesar  resolves 
to  ask  the  queen  for  her  intervention.  As  he 
is  waiting  for  the  appearance  of  the  queen,  he 
hears  in  the  next  room  Don  Jose  telling  her  that 
the  king  is  to  meet  his  mistress  that  evening. 
At  this  Don  Caesar  breaks  in,  confronts  Don 
Jose,  exposes  his  treachery,  and  kills  him  on  the 
spot.  Then  he  hurries  back  to  Maritana,  with 
whom  he  finds  the  king.      Don  Caesar  boldly 

716 


The  Mikado 

proclaims  what  he  has  just  done,  and  says: 
"  I  myself  have  safeguarded  the  king's  honor. 
Will  the  king  in  return  deprive  me  of  my  own 
honor  ?  "  The  king  sees  the  point,  makes  Don 
Caesar  the  governor  of  Valencia,  and  yields 
Maritana  up  to  his  rival. 


THE  MIKADO 

A  Comic  Opera  in  two  acts  by  AETHUE  S. 
SULLIVAN 

The    text   is    by    WILLIAM    S.    GILBERT 

First  production  in  London,  1885.  The 
scene  is  at  "  Titipu,"  Japan,  and  the  time  is 
the  past. 

The  first  act  happens  in  a  street  of  Titipu. 
The  Mikado's  son,  Nanki-Poo,  rather  than  wed 
an  elderly  charmer,  by  the  name  of  Katisha, 
has  run  away  from  court  and  leads  the  merry 
though  impecunious  life  of  a  strolling  minstrel 
youth.  He  has  gone  from  town  to  town,  hear- 
ing all  sorts  of  things,  when  in  Titipu  he  hap- 
pens to  fall  in  love  head  over  heels  with  the 
charming  Yum-Yum.  This  Yum-Yum  is  a 
minor  and  therefore  one  of  the  many  wards  of 
Ko-Ko,  a  high  official  who  has  a  monopoly  on 

7i7 


The  Standard  Operaglass 

guardianship  throughout  the  empire.  Yum- 
Yum  in  fact  is  still  a  schoolgirl,  a  naive  young 
creature,  who  is  home  during  vacation  with  two 
of  her  equally  charming  friends.  Ko-Ko  had 
had  an  idea  of  marrying  this  particular  ward 
himself,  not  having  much  else  to  do  just  about 
this  time.  But  Xanki-Poo's  affection  is  to  the 
full  returned  by  Yum- Yum,  and  this  is  the  way 
matters  stand  when  Pooh-Bah  drifts  in  from 
some  other  point  of  the  compass,  and  messes 
matters  up  by  his  arrival.  Pooh-Bah  is  not 
alone  the  depositant  and  purveyor  of  all  state 
secrets,  holding  also  every  office  in  the  gift  of 
the  country  with  the  single  exception  of  that 
of  Lord  High  Executioner,  which  is  the  pre- 
rogative of  his  friend  Ko-Ko,  but  he  is  always 
loaded  with  schemes.  Ko-Ko  had  been  a  tailor 
by  trade,  until  he  was  offered  this  fat  office,  and 
he  is  by  no  means  as  bloodthirsty  as  the  Mikado 
would  like  him  to  be,  in  fact  since  the  day  of 
his  inauguration  there  has  not  been  even  one 
execution.  The  Mikado  has  now  come  out  with 
an  ultimatum:  if  within  a  month  nobody  has 
been  beheaded  or  otherwise  disposed  of  for  good, 
Ko-Ko  will  lose  his  remunerative  job.  It  is  in 
this  dilemma  that  Xanki-Poo,  having  of  late 
found  the  strolling  minstrel  business  particu- 
larly unremunerative,  steps  forth  and  offers  to 
serve  Ko-Ko  as  a  client  at  the  end  of  the  month 

7i8 


The  Mikado 

if  he  be  allowed  to  marry  Yum-Yum  first  and 
live  with  her  for  that  space.  This  proposal  ap- 
pears to  both  Ko-Ko  and  Pooh-Bah  to  hit  the 
bullseye  and  they  accept  it  forthwith. 

The  second  act  is  at  the  home  of  little  Yum- 
Yum,  where  the  wedding  of  the  maid  with 
Xanki-Poo  is  to  take  place.  An  unlooked-for 
complication  arises  by  Ko-Ko's  unearthing  an 
obsolete  law  to  the  effect  that  when  a  man  is 
beheaded  his  widow  also  must  be  buried  alive. 
But  Xanki-Poo's  chivalry  is  not  to  be  outdone. 
Driven  by  his  code,  the  Japanese  bushido,  the 
young  man  offers  to  solve  the  difficulty  by 
stabbing  himself  with  neatness  and  dispatch. 
But  unfortunately  this  will  not  serve  the  need 
of  Ko-Ko,  who  is  driven  into  a  corner  and 
makes  up  a  false  statement  as  to  the  execution. 
It  is  precisely  at  this  juncture  that  the  Mikado 
himself  comes  to  Titipu,  quite  accidentally,  and 
learns  with  exquisite  pleasure  that  after  such  a 
long  delay  an  execution,  and  that  a  fine 
sanguinary  one,  described  with  much  gusto  by 
the  old  swindler,  Ko-Ko,  has  actually  taken 
place.  The  Mikado  grunts  approval  of  all  the 
horrible  things  that  have  been  done  to  the 
wretched  delinquent.  But  suddenly  he  learns 
that  the  delinquent  is  his  own  son,  for  whom  he 
has  been  looking  high  and  low,  and  this,  of 
course,  changes  the  aspect  of  affairs.    He  decrees 

719 


The  Standard  Operaglass 

forthwith  that  the  Lord  High  Executioner  shall 
be  boiled  in  oil  for  his  blunder.  But  the  gods  are 
merciful.  Nanki-Poo  shows  up  very  much  alive 
just  in  the  nick  of  time,  and  the  Mikado  remits 
all  other  penalties  to  Ko-Ko  save  only  the  one 
of  marrying  Katisha,  the  elderly  court  beauty. 


LE  MIEACLE 

Sentimental  Opera  in  four  acts  by  G.  A.  Hue 

Text   based   on   a  legend   of  Burgundy   dating   from   the 
fifteenth    century 

This  work  was  first  produced  in  Paris,  1910. 

Act  I.  A  strong  town  in  France  is  be- 
leaguered by  an  army  of  mercenaries,  and  in- 
side its  walls  suffering  from  famine  and  dis- 
ease is  great.  The  commander  of  these  troop8 
sends  word  that  he  will  raise  the  siege  of  the 
place  if  Alix,  a  noted  courtesan  of  great  beauty, 
is  surrendered  to  him.  He  asserts  that  she  has 
bewitched  him  by  black  art.  To  save  her  home 
town  Alix  agrees  to  his  condition,  and  the  citi- 
zens of  the  freed  city,  to  express  their  grate- 
fulness to  Heaven  for  the  timely  rescue,  give  an 
order  to  their  best  sculptor,  Soys,  to  make  a 
statue  of  their  patron  saint,  St.  Agnes,  to  be 
placed  in  the  church  devoted  to  her  service  in 
memory  of  her  aid.     But  Alix  is  not  satisfied 

720 


Le  Miracle 

with  this.  She  attributes  entirely  the  saving  of 
the  city  to  her  great  charms  and  to  her  spirit  of 
sacrifice,  and  she  conceives  a  plan  by  which  the 
artist  is  to  carve  the  statue  in  her  own  like- 
ness, thus  immortalizing  herself  instead  of  the 
saint  who  really  had  nothing  to  do  with  it. 

Act  II.  Meanwhile  Soys,  the  sculptor,  hav- 
ing seen  and  admired  Alix,  has  also  been  be- 
witched by  her.  He  is  unable  to  drive  her 
picture  from  his  mind.  Night  and  day  it  dwells 
there,  despite  all  his  prayers.  It  glows  and 
glitters  in  his  fancy,  and  delays  his  work  on 
the  statue  of  the  saint.  In  desperation,  finally, 
he  throws  the  half-finished  figure  from  its 
scaffold  at  the  moment  when  Alix  enters  his 
studio.  Her  robe  clings  to  her  divine  form. 
Her  presence  is  alluring,  irresistible.  Soys 
kneels  down  and  worships  her. 

Act  III.  The  scene  shows  the  Church  of  St. 
Agnes,  with  the  veiled  statue  in  one  of  its 
cloisters.  It  is  the  day  when  the  artist  is  to 
turn  over  the  finished  statue  to  the  city  author- 
ities. The  whole  populace  are  astir  to  do  honor 
to  the  patron  saint,  and  flags  and  flowers  testify 
to  the  general  joy.  But  as  Soys  slowly  with- 
draws the  cloth  hiding  the  figure,  it  is  seen  to 
be  a  nude  representation  of  Alix.  Fanatical 
rage  seizes  all.  Everybody  cries  out  at  the 
sacrilege.     The  bishop  in  his  golden  vestments 

72  T 


The  Standard  Operaglass 

threatens  to  put  the  whole  town  under  the  ban. 
The  crestfallen,  humbled  artist  has  nothing  to 
say  in  his  defense.  But  Alix  rejoices.  She  is 
proud  and  satisfied.  The  governor  who  now  ap- 
proaches the  statue  and  prepares  to  destroy  it 
is  struck  dead  by  Alix. 

Act  IV.  The  outraged  church  and  clergy  de- 
mand condign  punishment.  Alix  has  been  re- 
moved to  a  narrow  dungeon  cell.  Soys  attempts 
to  save  her,  but  she  scorns  to  be  saved.  She 
follows  a  procession  of  nuns  to  the  scene  of  her 
late  triumph,  where  the  statue,  again  closely 
veiled,  stands  mutely  in  the  corner.  It  falls  to 
her,  in  atonement  for  her  insolence,  to  shatter 
her  own  image,  for  only  then  will  Soys  be  par- 
doned. Soys,  frantic,  broken,  and  yet  still  un- 
der the  seductive  spell  of  Alix,  is  in  the  pro- 
cession. Alix  approaches  the  statue,  lifts  the 
heavy  hammer,  and  strikes  —  a  bolt  of  light- 
ning shoots  forth  from  the  stone,  and  she  lies 
dead.  Soys  tears  off  the  veil.  A  miracle  has 
been  wrought.  It  is  now  the  calm,  sweet  image 
of  St.  Agnes.  And  the  whole  town  now  blesses 
the  sculptor. 


722 


Mireille 

MIREILLE 

Romantic  Opera  in  four  acts  by  CH.  GOUNOD 

Words  by   PAUL   CARRE,   after  the  story  "  Mire'o "   by 
FREDERIC  MISTRAL 

This  dainty  work  was  first  seen  at  Paris, 
1878.  Its  scene  is  the  south  of  France,  in  the 
recent  past. 

The  first  act  discovers  Mireille,  the  daughter 
of  Ramon,  a  wealth}-  farmer,  in  a  mulberry 
plantation,  surrounded  by  village  girls  and 
neighbors,  who  rally  her  on  her  affection  for 
Vincent,  a  handsome  but  poor  youth.  The 
girl,  being  very  naive,  admits  her  passion  with- 
out reservation.  Taven,  a  reputed  witch, 
cautions  her  not  to  bare  her  heart  too  quickly. 

The  second  act  opens  with  a  chorus  and  dance 
in  the  arena  at  Aries,  where  Mireille  and  Yin- 
cent  meet  again.  But  Taven  warns  her  that 
she  has  heard  Ourrias,  a  wealthy  but  semi-sav- 
age cattle  owner,  boast  that  he  would  wed  her. 
Ourrias  is  repulsed  by  Mireille  and  reports 
these  facts  to  Eamon,  who  vows  that  his 
daughter  shall  obey  him. 

In  the  third  act  a  harvest  festival  is  being 
celebrated,  and  Andreloun,  a  poor  shepherd 
boy,  enters  playing  his  bagpipe.  Ramon  and 
his  whole  household  are  in  festive  mood,  but 
Mireille  cannot  shake  off  her  melancholy.    News 

723 


The  Standard  Operaglass 

is  brought  that  Ourrias,  the  suitor  favored  by 
her  father,  has  met  Vincent  and  attacked  him 
with  a  trident,  injuring  him  seriously.  Taven 
nurses  Vincent  and  predicts  his  recovery,  but 
Mireille  wants  to  implore  the  aid  of  heaven,  and 
undertakes  a  pilgrimage  to  the  shrine  at  the 
St.  Mary's  Church,  situated  in  the  Cro,  a  desert 
region. 

In  the  last  act  the  two  lovers  meet  at  the 
famous  shrine,  where  Vincent  opens  his  arms  to 
his  sweetheart.  There  is  religious  music,  and 
the  pilgrim's  march  is  chanted.  This  and  the 
presence  of  Vincent  restore  Mireille  once  more 
to  sanity,  and  her  father,  Eamon,  at  last  relents. 


THE  MISEE  KNIGHT 

Fantastic   Opera  in   three  acts  by  VLADIMIR 
BAKHMANINOFF 

This  opera  was  first  seen  at  Moscow,  1905. 
It  is  in  some  respects  quite  unique. 
A  nobleman,  who  has  amassed  much  wealth, 
has  become  extremely  penurious.  He  allows  his 
castle  to  go  to  ruin,  to  save  the  cost  of  repairs, 
and.  his  only  son  to  go  about  in  rags  and  to 
suffer  from  hunger.  The  youth  defeats  a  rival 
knight  in  a  duel  and  then  muses  as  to  the  causes 
of  his  success.    He  comes  to  the  conclusion  that 

724 


The  Miser  Knight 

it  was  owing  to  his  sorry  equipment,  for  once 
his  anger  was  roused  by  the  shattering  of  his 
helmet,  he  displayed  superhuman  strength. 
But  further  reflecting  he  feels  wrath  at  his 
father's  miserliness,  which  deprives  him  of  all 
enjoyment  of  life  and  youth.  He  thereupon 
looks  up  a  usurer,  who  advises  him  to  poison  his 
father  and  thus  come  into  possession  of  all  his 
riches. 

The  second  act  is  peculiar  because  there  ap- 
pears but  one  person,  the  miser,  on  the  stage. 
It  shows  him  in  the  lowest  cellars  of  his 
strong  castle,  where  he  is  surrounded  on  all 
sides  by  kegs  and  pouches  of  gold  and  silver. 
He  is  counting  his  treasures  over  and  over 
again,  and  tells  with  ecstasy  of  the  thrills  of 
pleasure  he  gets  from  the  feel  of  the  gold 
pieces,  which  he  terms  his  "  little  friends."  He 
sings  in  equal  measure  of  the  awful  struggle 
going  on  all  over  the  world  for  the  winning, 
keeping,  and  increasing  of  gold. 

The  third  and  last  act  shows  the  appalling 
death  agony  of  the  miser,  who  at  last  dies  with 
the  keys  still  in  a  grasp  of  steel,  unlocking  his 
treasures. 


725 


The  Standard  Operaglass 

MONA 

A  Dramatic  Opera  in  three  acts  by  HORATIO 
PARKER 

The  book  by  BRIAN  HOOKER 

The  first  production  was  in  New  York,  1912 
The  scene  is  Southwestern  Britain  in  ancient 
times. 

This  work  earned  the  prize  of  $10,000  offered 
that  year  by  the  Metropolitan  Opera  House, 
New  York. 

In  the  first  act  the  interior  of  Arth's  hut  in 
the  dense  woodland  is  seen.  The  Britons  are 
wroth  at  tyrannical  Roman  rule  in  their  island, 
and  the  priests  are  seeking  some  chieftain  of 
high  courage  and  influence  among  the  warriors 
of  their  race  to  lead  them  forth  again  to  combat 
the  Roman  legions.  Mona,  last  of  the  royal 
strain  that  gave  Boadicea  to  Britain,  is  chosen 
by  the  priests,  for  they  discover  in  this  woman 
an  unbending  will  and  a  more  than  manly  am- 
bition. Mona  herself  has  been  brought  up  by 
Arth  and  Enya  as  their  foster  child.  Mona  on 
her  part  has  as  a  lover  Gwynn,  one  of  a  party 
attempting  to  reconcile  Romans  and  Britons, 
and  throughout  a  man  of  peace.  She  does  not 
know  it,  but  Gwynn  is  really  the  son  of  the 
Roman  proconsul  who  has  been  administering 
Britain  for  years,  while  his  mother  is  of  British 

726 


Mona 

extraction.  Naturally  the  Roman  father  has 
steadily  been  endeavoring  to  bring  about  recon- 
ciliation between  the  two  races.  Gwynn,  whose 
Roman  name  is  Quintus,  does  his  best  to  wean 
Mona  away  from  her  bellicose  ideals  and  to  in- 
duce her  to  marry  him.  Mona,  however,  al- 
though fond  of  Gwynn,  cannot  prevail  upon  her- 
self to  abandon  her  visions  of  greatness,  and  is, 
besides,  convinced  that  fate  calls  upon  her  to 
imitate  the  deeds  of  her  ancestress,  Boadicea. 

The  second  act  reveals  a  druidic  fane  in  the 
depth  of  the  forest.  The  Roman  proconsul  in 
command  of  the  island  is  informed  by  his  spies 
that  the  druidical  priesthood  are  once  more 
solemnizing  their  rude  rites,  and  hence  he  con- 
cludes that  a  great  uprising  is  near.  Gwynn, 
still  pursuing  his  plan  of  mutual  reconciliation, 
urges  Mona  to  become  his  wife.  His  father, 
who  is  rather  cynical  as  to  his  son's  intentions, 
gives  him  leave  to  try  his  scheme.  Gwynn 
meets  Mona  after  one  of  the  great  national 
ceremonials  instigated  by  the  druids,  and  she 
yields  to  his  persuasive  eloquence  and  confesses 
her  love  for  him.  But  she  quickly  recants  when 
he  owns  to  his  Roman  descent,  and  curses  her 
feminine  weakness.  She  even  summons  her 
attendants,  and  they  take  Gwynn  captive. 

The  third  act  reveals  a  forest  in  front  of  a 
British   town   with   a   Roman   garrison    and   a 

727 


The  Standard  Operaglass 

Romanized  population.  Enya,  the  foster 
mother  of  Mona,  and  Nial,  a  half-witted  youth, 
are  watching  the  battle.  The  besieging  Britons 
are  unable  to  withstand  Roman  military  dis- 
cipline, and  they  fall  back,  Mona  among  them. 
Mona  is  unwounded,  but  in  great  dan- 
ger of  being  seized  by  the  Eomans  as  a  rebel. 
Gwynn,  who  has  torn  his  fetters  during  the 
engagement,  arrives  in  search  of  Mona,  and 
again  offers  her  his  affection  and  a  peaceful 
home.  He  is  not  recognized  by  Mona,  who 
sees  in  him  a  traitor  to  his  native  land.  In  an 
access  of  fury  she  stabs  him  to  death,  while 
he  does  not  resist  her  at  all.  When  the  Romans 
next  pursue  the  foe  they  take  Mona  a  prisoner, 
and  as  such  she  is  brought  face  to  face  with  the 
Roman  ruler  of  the  country,  Gwynn's  father. 
He  tells  her  the  full  truth  that  Gwynn,  the 
man  she  slew,  was  the  best  friend  the  country 
had,  and  that  with  him  perished  all  hope  of  a 
peaceful  settlement.  Mona  too  late  becomes 
conscious  that  she  has  overstepped  the  bound- 
aries set  for  true  womanhood. 


728 


Monna  Vanna 
MONNA  VANNA 

Sentimental  Grand   Opera  in  four  acts  by  HENRI 
FEVRIER 

Text  by  MAURICE  MAETERLINCK 

The  first-night  performance  of  this  opera  was 
in  Paris.  1909.  The  action  occurs  in  Pisa, 
Italy,  during  the  fifteenth  century,  and  is  based 
on  an  historical  incident. 

Act  I.  Made  frantic  by  a  long  and  cruel  siege 
and  brought  to  the  verge  of  actual  starvation, 
the  Florentine  army  investing  the  city  being 
on  the  point  of  enforcing  surrender,  the  clamor- 
ing population  of  Pisa  are  before  the  palace  of 
Guido  Colonna,  commander  of  the  brave  garri- 
son, and  demand  the  death  of  the  general,  since 
it  was  he  who  brought  about  the  war.  Guido 
Colonna  himself  is  seated  inside,  wrapt  in 
melancholy  thought,  and  hears  the  shouts  of  the 
maddened  crowd.  His  officers,  Borso  and 
Torello,  come  to  him  with  the  report  that  the 
ammunition  is  giving  out.  He  replies  that  he 
has  already  sent  his  own  father,  the  venerable 
Marco,  to  Prinzivalle,  commanding  the  besieg- 
ing Florentine  army,  to  obtain  favorable  terms. 
His  father  returns,  and  his  report  is  to  the 
effect  that  Prinzivalle  will  deal  leniently  with 
Pisa  and  send  them  a  large  convoy  of  food  and 
ammunition   if   Guido   will   accept  his   terms. 

729 


The  Standard  Operaglass 

These  terms,  Marco  announces,  are  that  in 
token  of  submission,  Guido  himself  send  his 
wife,  the  beautiful  Monna  Vanna,  to  the  tent 
of  Prinzivalle.  The  lady,  it  is  conditioned,  is 
to  come  without  arms,  nude,  wrapped  only  in  a 
cloak,  and  is  to  stay  with  the  general  of  the 
foe  until  dawn  of  the  next  day.  Guido  is 
shocked  and  humiliated,  and  demands  to  know 
the  reason  of  such  singular  conditions.  The 
father  replies  that  Prinzivalle  is  enamored  of 
Monna.  And  when  Guido  remains  of  the 
opinion  that  that  cannot  be  true  since  Prinzi- 
valle has  never  seen  Monna,  Marco  answers  that 
Prinzivalle  certainly  must  have  met  Monna 
before,  and  that  the  latter,  having  been  told  by 
Marco  of  these  conditions,  has  declared  herself 
ready  to  carry  them  out.  Vanna  is  summoned, 
and  hears  the  ferocious  cries  of  the  throng 
outside,  all  shouting  for  the  death  of  her  hus- 
band, whereupon  she  reiterates  her  willingness 
to  fulfil  the  terms  of  the  victor.  Her  husband, 
unable  to  fathom  her  motive,  and  not  inclined 
to  put  such  deep  trust  in  his  wife's  affection, 
is  roused  to  insane  jealousy,  and  at  first  will 
not  agree  to  the  conditions  imposed.  He  pro- 
tests wrathfully,  but  finding  his  wife  firm  in  her 
resolution,  he  cannot  help  believing  that  her 
love  for  him  has  died,  and  puts  her  coldly  from 
him,  asserting  that  his  love  also  is  now  dead. 

730 


Monna  Vanna 

In  the  second  act  Prinzivalle  is  awaiting  the 
coming  of  Monna  in  his  tent,  but  is  told  by 
his  secretary,  Vedio,  that  a  letter  has  just  been 
received  from  Florence  in  which  the  general 
is  ordered  to  storm  the  beleaguered  city  of 
Pisa  next  morning,  in  default  of  which  he  will 
be  regarded  a  traitor  and  taken  into  custody 
to  await  trial.  The  envoy  from  Florence,  Tri- 
vulzio,  a  venomous  enemy  of  Prinzivalle,  enters 
the  tent  just  as  the  signal  agreed  upon,  show- 
ing that  Monna  has  started  for  her  ordeal,  is 
beginning  to  flash  on  the  ramparts  of  Pisa. 
Prinzivalle  has  been  watching  this  signal.  Tri- 
vulzio  is  confronted  by  the  commander  with 
several  letters  from  partisans  in  Florence  show- 
ing clearly  that  Trivulzio  and  a  number  of  his 
fellow-conspirators  have  resolved  on  Prinzi- 
valle's  death  even  if  the  latter  should  end  the 
siege  successfully.  Trivulzio,  seeing  himself  be- 
trayed, treacherously  attempts  to  stab  the  gen- 
eral with  a  poniard.  But  he  only  wounds  him 
in  the  face,  and  is  then  disarmed  and  handed 
over  to  the  guards  for  safekeeping.  Vedio 
warns  his  master  that  his  foes  in  Florence  are 
bent  on  his  destruction,  but  Prinzivalle  laughs 
at  him.  Vedio  leaves,  and  Monna  enters.  The 
dialogue  between  these  two  shows  that  Monna 
still  cherishes  a  single  purpose  in  coming, 
namely,  to  save  the  people  of  Pisa  and  to  re- 

73i 


The  Standard  Operaglass 

deem  her  husband.  It  is  also  shown  that  Prinzi- 
valle  was  her  playmate  during  childhood  and 
has  treasured  her  memory.  He  behaves  toward 
her  with  so  much  delicacy  and  forbearance  that 
he  earns  her  gratitude  and  respect,  and  she 
allows  him  to  caress  her  hand  in  token  of  these 
feelings,  but  no  further  intimacy  is  attempted 
on  either  side.  Vedio  at  this  juncture  rushes 
in  to  let  his  principal  know  that  an  officer  from 
Florence  with  a  body  of  soldiers  are  proclaim- 
ing him  a  traitor  throughout  the  camp.  Prinzi- 
valle  is  urged  to  flee,  and  now  Monna  wants 
him  to  come  with  her  to  Pisa,  where  he  would 
be  safe.  He  accepts  her  offer,  and  they  both  go. 
The  third  act  opens  with  Guido's  plans  for 
vengeance.  Monna  Yanna  comes  acclaimed  by 
the  people  as  their  savior.  The  aged  father, 
Marco,  affectionately  embraces  her,  but  her  hus- 
band will  have  none  of  her,  and  drives  out  the 
joyful  crowd  that  has  followed  her  to  the  palace. 
He  notices  a  man  in  her  wake,  and  inquires  as 
to  his  identity.  When  he  hears  that  it  is  Prinzi- 
valle,  he  is  seized  with  a  paroxysm  of  unreason- 
ing rage,  but  suddenly  the  assumption  comes 
over  him  that  his  wife  has  brought  this  man 
for  him  to  wreak  his  vengeance  on,  and  then 
he  goes  to  the  other  extreme,  taking  her  to  his 
arms  and  begging  her  forgiveness  for  having 
misconstrued  her  past  behavior.     In  his  mind 

732 


Monna  Vanna 

he  is  hatching  schemes  for  the  torture  of  Prinzi- 
valle. Pie  calls  back  the  populace  and  tells 
them  who  the  stranger  is.  Vanna  makes  every 
endeavor  to  be  heard  and  to  explain  the  facts 
in  the  case,  but  when  at  last  she  is  permitted 
to  say  something,  Guido  flatly  disbelieves  her, 
and  tauntingly  parades  his  incredulity  that 
Prinzivalle  did  spare  her  from  shame  and  out- 
rage just  because  he  loved  her.  He  asks  her, 
however,  to  come  to  his  arms  and  be  caressed, 
which  she  coldly  refuses  to  do.  Neither  do  the 
throng  of  people  whom  she  has  saved  by  her 
own  sacrifice  believe  her  pure  and  unsullied 
because  of  the  deep  respect  felt  for  her  by 
Prinzivalle.  Guido  prepares  to  feast  on  the 
tortures  which  he  has  in  store  for  Prinzivalle, 
and  when  Monna  Vanna  thus  realizes  the  truth, 
she  pretends  that  her  husband's  surmises  have 
been  correct,  and  claims  Prinzivalle  as  her  own 
victim,  to  do  with  as  she  chooses.  Prinzivalle 
accordingly  is  cast  into  a  dungeon,  manacled 
and  treated  cruelly,  and  the  key  to  his  cell  is 
confided  to  her. 

In  the  last  and  rather  short  act,  Monna 
Vanna  frees  Prinzivalle  from  his  bonds,  and 
the  two  bare  their  souls  to  each  other.  She 
makes  it  clear  why  she  can  no  longer  love 
her  husband  after  the  foul  suspicions  he  has 
had  of  her,  and  after  the  fiendishly  cruel  in- 

733 


The  Standard  Operaglass 

stincts  shown  by  him  throughout  the  whole  mat- 
ter. On  the  other  hand  she  now  feels  the  most 
enduring  affection  for  Prinzivalle.  She  opens 
the  doors  of  the  prison  to  him,  and  the  two  go 
forth  to  buffet  the  world  together. 


LA  NAVAEEAISE 

A  two-act  Komantie  Opera  by  J.  MASSENET 
Text  after  the  Spanish 

This  work  was  first  played  in  London,  1894. 
The  scene  is  in  Spain,  during  the  Carlist  war. 

'Act  I.  A  poor  peasant  girl,  Anita,  (La  Navar- 
raise)  is  in  love  with  Araquil,  sergeant  in  the 
Spanish  army,  and  he  reciprocates.  When  the 
curtain  rises  the  Carlists  have  won  the  day,  and 
Araquil  is  anxiously  looking  for  his  sweetheart. 
Their  meeting  is  most  tender  and  touching. 
AraquiPs  father,  Eemigo,  also  meets  his  boy; 
Anita  appeals  to  the  father  to  be  lenient  in  the 
matter  of  dowry  with  her,  because  while  he  has 
two  thousand  douros, —  she  has  nothing.  In 
another  scene  there  is  a  battle,  and  General 
Garrido,  on  the  Spanish  side,  offers  a  fortune 
to  the  soldier  who  will  kill  or  take  the  redoubted 
Carlist  leader,  Zucarraguay,  prisoner  during  the 
engagement  and  bring  him  to  the  commander. 

734 


Natoma 

Anita,  disguised  as  a  soldier,  hears  this  and 
rushes  off  towards  the  camp  of  the  enemy. 

Act  II.  Xight.  A  camp  scene.  As  day 
breaks,  fighting  is  resumed.  The  rumor  spreads 
that  Zucarraguay  has  been  stabbed  by  a  woman, 
a  spy.  A  change.  Anita  presents  herself  be- 
fore General  Garrido,  and  furnishes  proof  of 
having  killed  the  Carlist  leader.  She  receives 
the  reward.  But  at  the  same  time  Araquil,  her 
lover,  is  brought  in  dying  from  a  wound.  He 
has  heard  of  her  visiting  the  enemy  camp,  and, 
unaware  of  her  having  killed  Zucarraguay, 
he  reproaches  her  for  having  sold  herself  to 
obtain  riches.  He  curses  her  and  dies.  Anita, 
becomes  a  raving  maniac,  and  expires  over  the 
body  of  her  lover. 


NATOMA 

A   Eomantic   Opera  in   three   acts   by   VICTOR 
HERBERT 

Text  by  JOSEPH  D.  REDDING 

This  opera  was  first  produced  at  Philadelphia, 
1911.  The  scene  is  laid  in  Southern  California, 
and  the  time  is  1820,  during  the  Spanish  occu- 
pation. 

The  first  act  occurs  at  the  island  of  Santa 
Cruz.      A  wealthy  Spaniard,  Don  Francisco,  is 

735 


The  Standard  Operaglass 

expecting  the  return  from  a  convent  on  the 
mainland  of  his  daughter  Barbara.  She  has 
completed  her  education  at  the  convent,  and 
everybody  on  Don  Francisco's  vast  estate  is  im- 
patient to  welcome  her.  Alvarado,  a  young 
Spaniard  of  distinction,  has  been  courting  the 
Sefiorita  Barbara  for  some  time.  Natoma,  the 
young  lady's  Indian  maid,  is  greatly  attached 
to  her  mistress.  And  somebody  else,  too,  is 
anxious  to  meet  her,  namely,  Lieutenant  Mer- 
rell,  of  the  U.  S.  Navy,  who  happens  to  be 
stationed  at  Santa  Cruz  at  the  behest  of  his 
government.  Without  his  own  knowledge,  Na- 
.toma,  who  is  quite  a  superior  person  for  an 
Indian,  is  deeply  in  love  with  the  young  officer, 
whereas  he  treats  her  with  indulgence,  but  as 
a  mere  child  of  the  wilderness.  Nevertheless, 
Natoma,  not  fathoming  his  true  state  of  feel- 
ings, harbors  hopes  of  ultimately  winning  Mer- 
rill's affections.  And  strangely  enough,  it  is 
owing  precisely  to  Natoma's  vivid  descriptions 
of  the  sweet  charms  of  her  mistress  that  the 
lieutenant  is  prepared  in  advance  to  fall  in  love 
with  her.  Natoma  after  some  chance  remark 
of  his,  suddenly  realizes  this,  and  from  that 
moment  on  her  fellings  are  strongly  divided  be- 
tween loyalty  to  her  mistress  and  uncontrollable 
love  for  Merrill.  When  Barbara  at  last  does 
arrive,  and  is  greeted  most  enthusiastically  by 

736 


Natoma 

everybody,  an  attachment  between  herself  and 
the  young  officer  ripens  speedily  into  love,  ex- 
actly as  Xatoma  had  forebodingly  felt  would  be 
the  case.  When  in  the  evening  after  her  arrival 
a  ball  is  given  in  Barbara's  honor,  Alvarado, 
whose  suit  has  not  prospered,  becomes  aware 
that  a  new  and  formidable  obstacle  to  his  as- 
pirations exists  in  the  person  of  Merrill.  When 
he  pleads  his  cause  with  Barbara  he  is  definitely 
repulsed,  and  he  then  lays  plots  with  his  half- 
breed  servant,  Castro,  to  possess  himself  of  the 
person  of  Barbara  by  abduction.  But  Natoma 
becomes  aware  of  Alvarado's  criminal  designs 
and  conceives  a  means  of  foiling  them. 

The  second  act  opens  with  a  scene  on  the 
public  plaza  of  Santa  Barbara.  A  fair  is  being 
celebrated  in  the  ancient  town,  and  among  the 
attractions  offered  there  is  the  presence  of  a 
body  of  American  marines.  Alvarado  invites 
Barbara  to  the  dance,  and  despite  her  reluctance 
she  is  told  by  her  father  not  to  refuse,  and  hence 
accepts  his  company.  But  Alvarado  wounds  the 
girl's  feelings,  and  she  leaves  him  to  join  her 
father.  Alvarado,  though,  keeps  a  sharp  lookout 
for  her,  trying  to  find  a  favorable  opportunity 
to  get  her  into  his  power.  He  has  Castro  and 
some  other  ruffians  to  aid  him.  As  part  of  the 
plot  Castro  issues  a  challenge  to  all  present  to 
share  with  him  in  a  public  display  of  the  dagger 

737 


The  Standard  Operaglass 

dance.  He  thrusts  his  dagger  deep  into  the  soil, 
and  a  crowd  of  admirers  is  quickly  formed  about 
him.  Natoma  takes  up  his  challenge,  and  both 
then  keep  on  whirling  cautiously  about,  each 
intent  on  seizing  the  other's  weapon.  Suddenly 
Natoma  leaps  forward,  pushes  Castro's  dagger 
aside,  and  coming  at  one  bound  up  to  Alvarado, 
stabs  him  to  the  heart,  just  as  he  was  on 
the  point  of  seizing  Barbara.  Merrill  and  his 
marines  take  the  side  of  jSTatoma,  and  prevent 
the  crowd  of  enraged  villagers  from  wreaking 
vengeance  on  her.  At  this  moment  Father 
Peralta,  appearing  on  the  threshold  of  the 
near-by  church,  offers  sanctuary  to  Xatoma. 
She  disappears  within. 

The  interior  of  the  church  is  seen  in  the  last 
act.  Natoma  is  kneeling  there  before  the  altar, 
and  a  conflict  of  feelings  is  raging  in  her  bosom. 
The  old  instincts  of  her  race  have  reawakened, 
and  she  dreams  of  the  rude  freedom  of  the 
forest.  There  is  no  regret  for  what  she  has 
done,  but  her  love  for  Merrill  is  as  strong  as 
ever.  She  still  feels  loyal  towards  her  beloved 
mistress,  but  she  does  not  intend  to  give  up  the 
lieutenant  even  to  her.  It  is  in  that  frame  of 
mind  that  the  gentle  old  priest  meets  her  within 
the  church.  When  he  accosts  her  with  authority 
regarding  her  deed,  she  at  first  scorns  him  and 
his  teachings.     But  he  speaks  with  so  much 

738 


Noel 

persuasion  and  understands  the  workings  of  her 
heart  so  well,  that  gradually  he  softens  her,  and 
finally  Xatoma  sinks  on  her  knees.  She  re- 
nounces all  her  dreams,  and  is  anxious  to  enter  a 
convent  and  lead  a  penitential  life.  Worship- 
pers now  arrive,  unheeded  by  Xatoma,  and  then 
mass  is  celebrated  by  Father  Peralta,  and  the 
nuns  are  seen  approaching  across  the  sun-lit 
gardens  of  the  cloister.  At  last  the  Indian 
maiden  takes  eternal  leave  of  her  beloved  mis- 
tress, and  vanishes  through  the  gate  that  leads 
to  peace. 

XOEL 

Musical    Tragedy    in    three    acts   by    CAMILLE 
ERLANGEE 

Text  by  LA  ROSE 

This  work  was  first  heard  in  Paris,  1906. 
The  scene  is  laid  in  Paris. 

Act  I.  It  is  Christmas  eve,  and  a  snowstorm 
is  raging.  On  a  public  square  the  pastor  and 
his  sacristan,  Simplice,  are  about  to  enter  their 
parish  church.  Opposite  is  situated  the  dwell- 
ing of  Mme.  Herblet.  As  they  enter,  Made- 
leine is  seen  knocking  at  the  door  of  Mme. 
Herblet's  house,  bearing  in  her  arms  a  new- 
born babe.  Mme.  Herblet  refuses  to  let  her 
enter  or  to  see  Jacques,  her  lover,  and  shuts  the 

730 


The  Standard  Operaglass 

door  upon  her.  Madeleine,  unconscious,  falls  in 
a  faint.  Midnight  rings  out,  and  the  voices 
of  distant  children,  singing  carols,  are  heard 
dimly.  Madeleine  rises,  and  enters  the  church, 
saying :  "  Holy  Virgin,  be  pitiful  to  me !  * 

Act  II.  Interior  of  the  church,  with  the 
Virgin's  chapel  on  one  side,  showing  lighted 
candles.  A  wax  figure  of  the  Christ-child  in 
a  cradle  below.  Madeleine  kneels  in  the  shadow 
of  a  pillar.  Jacques,  Blanche,  his  betrothed, 
Mine.  Herblet,  and  the  clergyman  are  praying. 
After  they  leave,  Madeleine  goes  up  to  the  altar, 
saying :  "  Holy  Mother,  hear  my  prayer.  Look 
thou  upon  my  son,  no  less  beautiful  to  me  than 
thine.  Take  for  thine  own  this  child  of  no 
heritage,  which  I  give  thee."  Putting  her  own 
child  into  the  manger  of  the  Christ-child,  she 
leaves.  The  pastor  soon  after  enters,  finds  the 
strange  child,  and  his  sacristan  says :  "  This  is 
a  miracle."  But  he  answers :  "  No,  some  poor 
woman  left  her  child  to  the  Virgin's  protection." 

Act  III.  The  pastor  enters  a  hospital  where, 
unknown  to  him,  Madeleine  has  been  received. 
Madeleine  is  still  delirious  and  sings  softly 
a  stave  from  a  Christmas  carol :  "  Live  the 
flower  of  the  Thorn  Bush!"  Blanche  and 
Jacques,  now  married  and  coming  from  their 
wedding  feast,  enter  next,  bound  to  do  some 
kindness  to  the  unfortunate.     Blanche  rises  to 

740 


L'Oracolo 

bring  the  baby  to  its  mother,  and  Jacques  recog- 
nizing Madeleine,  says :  "  This  is  Madeleine, 
whom  I  hoped  to  make  my  wife,  if  she  had  only 
been  true  to  me."  Madeleine,  unable  to  answer, 
clasps  the  hand  of  Jacques,  and  sinks  back  on 
her  pillow  lifeless,  as  Blanche  returns  with  the 
living  child.  Blanche  says :  "  He  shall  be  as 
our  own.    He  shall  be  called  Noel." 


L'ORACOLO 

Tragic  Grand  Opera  in  Italian  by  FEANCO  LEONI 

Text  based   upon   an  American   melodrama,    "  The   Child 

and  the  Cherub,"  by  C.  B.  FERNALD.     Libretto 

by    CAMILLO    ZANONI 

The  first  production  took  place  in  1905,  in 
London.  The  scene  is  Chinatown,  San  Fran- 
cisco, before  the  great  fire  of  1906.  There  is 
only  one  act,  but  a  number  of  scenes,  with 
change  of  location. 

In  Hatchet  Row,  Chinatown,  the  early  dawn 
of  the  Chinese  New  Year  sees  the  keeper  of  an 
opium  den,  Chim  Fen,  eject  an  obstreperous 
client,  and  having  done  so,  he  shakes  his  fist 
at  the  gleaming  windows  of  his  neighbor, 
the  wealthy  Hoo  Tsin.  He  is  enraged  at  the 
contrast  between  his  own  misery  and  the  wealth 
of  his  neighbor.  Meeting  the  nurse  employed 
in  Hoo  Tsin's  home,  he  demands  from  her  the 

74i 


The  Standard  Operaglass 

return  of  a  handsome  fan,  a  gift  from  San  Luy 
to  the  merchant's  beautiful  daughter,  Ah  Yoe. 
The  nurse  is  greatly  frightened  and  promises 
to  obey  him.  A  Chinese  sage,  Win  Shee,  deeply 
learned  and  of  great  influence  among  his  coun- 
trymen, in  passing  Chim  Fen's  place,  answers 
Chim  Fen's  wishes  of  the  season  by  stopping 
and  warning  the  other  of  the  sinfulness  of  his 
calling.  When  a  policeman  passes,  Win  Shee,  al- 
though such  a  sage,  nevertheless  is  particular 
to  caution  Chim  Fen  not  to  pay  attention  to 
this  "American  dog."  Afterwards  San  Luy,  the 
sage's  son,  under  the  window  of  Ah  Yoe  sings 
a  serenade  in  her  praise,  and  the  two  exchange 
holiday  greetings.  Chim  Fen  amid  all  the  re- 
joicing of  the  day  plucks  up  courage  enough 
to  ask  Hoo  Tsin  for  the  hand  of  his  daughter. 
Hoo  Tsin,  instead  of  declining  outright,  merely 
hopes  that  all  the  opium  in  Chinatown  may  pass 
through  his  neighbor's  hands.  Chim  Fen,  how- 
ever, understands  the  reply  to  be  a  negative  one, 
and  flies  into  a  rage,  all  the  more  because  the 
rabble  in  the  street  mocks  at  him. 

On  this  same  New  Year's  day  Hoo  Tsin,  in 
conformity  with  ancient  home  tradition,  has  the 
oracle  consulted  relative  to  the  fortune  of  his 
infant  son  and  heir.  The  oracle  plays  on  the 
safe  side :  part  of  it  is  favorable,  part  unfavor- 
able.    But  before  the  little  child  can  be  taken 

742 


L'Oracolo 

home  again,  Chim  Fen,  out  of  a  feeling  of  re- 
venge, kidnaps  him,  and  hides  him  in  the  depths 
of  his  cellar.  Then  he  visits  the  inconsolable 
father,  to  whom  he  makes  a  proposition.  He 
pledges  himself  to  make  a  thorough  search  for 
the  missing  baby,  and  asks,  in  case  he  should 
find  him  and  restore  the  child  unharmed  to  the 
father,  for  the  hand  of  Ah  Yoe.  San  Luy,  not 
to  be  behindhand,  makes  the  same  bargain.  By 
him  the  baby  is  traced  to  Chim  Fen's  cellar, 
but  when  he  attempts  to  penetrate  there,  Chim 
Fen  discovers  him,  and  the  two  rivals  during 
a  struggle  fall  down  the  steps  of  the  cellar,  and 
San  Luy  is  killed.  The  news  spreads.  Ah 
Yoe  mourns  for  her  lover,  and  Win  Shee,  the 
sage  and  father  of  the  victim,  resolves  to  exact 
retribution.  He  finds  the  missing  child,  and 
when  Chim  Fen  tries  to  prevent  him  from  carry- 
ing off  the  baby,  they  grapple,  and  Chim  Fen 
is  slain.  Just  after  the  deed,  one  of  those 
vigilant  American  policemen  draws  near  and  is 
on  the  point  of  discovering  the  murder.  Win 
Shee  adopts  a  singular  stratagem  to  deceive  him. 
He  props  up  the  corpse  on  the  sidewalk,  and  as 
the  officer  comes  nearer  he  apparently  carries 
on  a  spirited  conversation  with  the  dead  man. 
The  officer  is  deceived  and  goes  on.  Justice  ac- 
cording to  the  Chinese  notion,  has  been  done. 


743 


The  Standard  Operaglass 

PAOLETTA 

Romantic  Opera  by  L.  FLORIDIA 
Text  based  on  Spanish  sources 

This  work  was  first  performed  in  Cincinnati, 
1910.    The  scene  is  medieval  Spain. 

The  kingdoms  of  Aragon  and  Castile  have 
been  making  war  upon  each  other,  and  Aragon 
has  conquered.  The  King  of  Castile  has  been 
strangely  disappointed  in  the  potency  of  the 
Sacred  Mirror,  a  holy  talisman  brought  from 
Jerusalem.  This  wonderful  mirror  gives  forth 
a  ray  of  light  possessing  marvelous  power,  both 
for  love  and  war.  To  prevent  its  being  stolen 
it  is  kept  in  a  sanctuary  where,  on  pain  of  death, 
none  but  the  priest  may  look  upon  it.  But 
owing  to  recent  misadventures,  the  King  of 
Castile  loses  faith  in  the  mirror  and  applies 
to  the  Moorish  prince  Gomarez  to  read  his  horo^ 
scope.  Gomarez  is  really  a  servant  of  Azazil,  a 
Spirit  of  Evil,  and,  although  old  in  years,  he 
is  smitten  with  the  charms  of  the  king's 
daughter  Paoletta.  Gomarez  predicts  that 
Paoletta's  wedding  alone  will  bring  back  glory 
to  Castile  once  more.  The  king  holds  a  festival 
of  flowers  and  promises  the  hand  of  Paoletta  to 
him  who  will  achieve  the  greatest  feats  of  arms. 
Gomarez  is  among  the*  competitors,  declaring, 
however,    that    he    is    merely    acting    for    his 

744 


Les  Pecheurs  De  Pedes 

nephew,  Prince  Muza.  Gomarez  appeals  to 
Azazil  to  grant  him  renewed  youth  which  is 
given  him.  Paoletta,  so  far  not  in  favor  of 
Gomarez,  now  turns  to  him.  The  wedding  is 
taking  place.  Muza  has  won.  In  the  Hall  of 
the  Scarlet  Poppies  the  ceremony  is  to  take 
place,  and  great  pomp  is  seen.  Suddenly  Don 
Pedro,  formerly  in  the  good  graces  of  the 
princess,  but  displaced  by  Gomarez  by  means  of 
sorcery,  enters  and  challenges  Muza  to  mortal 
combat.  The  priests  bring  in  the  Sacred 
Mirror,  and  as  its  rays  fall  upon  the  princess, 
the  magic  spell  wrought  by  Muza  is  broken. 
She  rushes  into  Pedro's  arms,  and  as  the  mirror 
further  turns  to  Muza,  he  is  instantly  trans- 
formed into  an  old  man  with  the  face  of 
Gomarez  and  falls  dead. 


LES  PECHEURS  DE  PERLES 

Tragic    Grand    Opera    in    three    acts    by    GEORGES 

BIZET 

T(*t   by   M.   CARRE   and   P.    E.    PIESTRE 

The  first  production  was  in  Paris,  1863.  The 
action  takes  place  in  Ceylon,  in  the  remote  past. 
The  cast  comprises  but  four  persons. 

In  the  first  act  pearl  fishers  of  Ceylon  are  seen 
celebrating  an  annual  festival  on  the  shore  of 

745 


The  Standard  Operaglass 

the  sea,  near  their  native  village.  Seizing  this 
opportunity  one  of  them,  Zurga,  proposes  the 
selection  of  a  chief  to  bear  authority,  and  he 
himself  is  chosen.  Nadir  enters,  being  wel- 
comed by  Zurga  as  a  friend  of  former  days. 
Subsequently  the  two  converse,  and  Nadir  says 
that  he  has  overcome  his  early  love,  although 
he  has  not  forgotten  it.  They  recall  how,  dur- 
ing their  joint  travels,  they  had  once  seen  a 
vision  of  loveliness.  The  apparition,  in  the 
shape  of  a  woman  of  exquisite  beauty,  had  been 
seen  by  them  in  a  Brahman  temple,  and  had 
been  adored  by  the  people  as  a  goddess.  This 
woman  had  spread  out  her  arms  to  them  both, 
as  if  in  longing,  and  hence  had  sprung  jealousy 
and  rivalry.  Finally,  they  remind  each  other, 
they  had  agreed  to  shun  this  woman  altogether, 
so  as  to  preserve  their  own  friendship.  After 
the  recital  they  pledge  each  other  anew  to  a 
mutual  regard  that  nothing  shall  destroy. 

Then  a  small  vessel  is  seen  approaching  the 
shore.  Zurga  relates  how  according  to  im- 
memorial custom,  a  fair  stranger,  charming  and 
wise,  is  being  brought  to  the  village  frean  afar, 
to  dwell  in  the  ancient  temple  on  the  summit  of 
a  steep  rock  close  by,  and  how  she  is  to  drive 
away  demons  and  obtain  an  increase  in  the  catch 
of  the  fishermen  by  her  prayers  and  incanta- 
tions.    When   the  boat  lands,   Nourabad,   the 

746 


Les  Pecheurs  De  Perles 

priest  of  Brahma,  and  Leila,  closely  veiled,  leave 
it  and  are  greeted  with  shouts  of  joy  by  the 
fisher-folk.  Zurga  as  chief  makes  her  take  the 
oath :  never  to  remove  her  veil,  never  to  betra) 
her  vows  of  chastity,  and  never  to  cease  praying 
both  night  and  day  to  the  all-powerful  gods. 
The  maiden  makes  a  solemn  pledge  to  this 
effect,  and  Zurga  promises  that  she  shall  be  re- 
warded for  such  faithful  service  by  receiving 
the  most  flawless  and  costly  pearl  of  the  season, 
but  if  she  prove  fickle  she  shall  die.  Upon 
hearing  this  terrible  alternative,  Nadir  trembles 
with  foreboding,  and  the  virgin  herself  —  for 
she  is  none  other  than  the  divine  apparition  of 
Zurga's  tale  —  also  shivers  and  her  voice  breaks. 
Zurga  notes  this  and  points  out  to  the  fair  un- 
known that  she  has  her  choice.  Leila's  pride  is 
touched  and  she  elects  to  stay.  The  priest  and 
the  virgin  withdraw  to  the  interior  of  the  temple. 
Nadir  is  left  alone,  but  he  has  recognized  Leila, 
and  felt  again  the  violence  of  his  love  for  her. 
Although  he  deplores  his  insincerity  towards 
his  generous  friend  Zurga,  love  proves  the 
stronger,  and  slowly  draws  him  nearer  and 
nearer  to  her.  "When  the  priest  at  last  emerges 
from  the  rock-bound  temple,  Xadir  ventures  to 
approach  Leila,  murmuring  to  her  that  he  will 
watch  over  her,  that  he  still  loves  her  dearly, 
and  that  in  case  of  need  he  will  defend  her. 

747 


The  Standard  Operaglass 

Leila,  rejoicing,  confesses  her  own  passion  for 
Nadir  and  thanks  him  for  his  promises  of  pro- 
tection. 

In  the  second  act  Nourabad  warns  Leila  to  be 
careful  in  keeping  her  vow,  assuring  her  that 
in  that  case  she  need  have  no  fear.  Leila  in 
token  of  her  intended  obedience,  tells  the  priest 
that  once  when  still  a  child,  she  was  threatened 
with  death  for  not  revealing  the  hiding  place  of 
a  fugitive  who  had  implored  her  aid,  but  that 
she  did  not  betray  her  trust,  and  that  the  fugi- 
tive out  of  gratitude  gave  her  a  costly  necklace 
as  a  gift.  Later  Leila  is  unable  to  sleep  and 
suspects  that  Nadir  is  near.  He  reveals  his 
presence  by  a  love  song,  after  which  she 
in  her  joy  tells  him  about  the  hidden  path  that 
leads  to  her  retreat.  He  ascends  it,  and  she  then 
out  of  fear  bids  him  leave  her.  But  Nadir 
soothes  her  and  then  swears  he  is  unable  to  re- 
strain his  passion  for  her.  Since  Leila  shares 
his  feelings  they  vow  to  be  true  to  each  other, 
although  fear  again  becomes  uppermost  with 
the  maiden,  and  the  risks  they  both  run  make 
her  despondent.  However,  she  promises  to  meet 
him  on  the  morrow.  Nourabad,  the  priest,  sus- 
picious of  Leila's  faith,  enters  with  a  throug 
of  people,  and  a  great  thunderstorm  breaks, 
this  being  interpreted  by  the  superstitious  lay- 
men  as  indicative  of  the  wrath  of  the  gods. 

748 


Les  Pecheurs  De  Pedes 

Nadir  has  escaped,  but  is  apprehended  and 
brought  back.  The  people  condemn  the  two 
lovers  to  death.  But  Zurga  enters,  and 
drives  the  people  away,  saying  that  it  is  his  own 
prerogative  to  punish  or  forgive.  Out  of  pity 
for  his  old  friend,  he  wants  to  show  hirn 
leniency  and  bids  them  both  be  gone.  But  the 
priest,  in  a  rage,  tears  off  the  veil  from  Leila's 
face.  Zurga  then  for  the  first  time  becomes 
aware  that  Leila  is  the  unknown  beauty  of  the 
temple  and  that  Nadir  has  been  guilty  of 
double  treason,  wherefore  he,  too,  pronounces 
the  death  sentence  over  him.  Leila's  pleading 
for  mercy  is  unavailing.  Since  the  fury  of 
the  storm  is  increasing,  the  people  want  to 
appease  the  gods  by  offering  the  two  guilty  ones 
as  a  sacrifice. 

The  last  act  shows  Zurga  mourning  because 
Nadir,  whom  he,  after  all,  treasures  as  his 
friend  from  childhood  up,  is  to  die  ignomini- 
ously  and  by  his  own  doing.  Leila  seeks  an 
interview  with  him,  exonerates  Nadir,  and 
assumes  all  the  guilt  herself,  begging  him  to 
save  her  lover.  But  Zurga's  own  passion  for 
Leila  is  roused  by  her  charms,  and  he  avows 
his  love  for  her.  She  scorns  him  and  taunts 
him  for  being  false  to  his  friend  and  cruel  to 
them  both.  Nourabad  interrupts,  announcing 
that  the  hour  for  expiation  has  struck.     Leila 

749 


The  Standard  Operaglass 

submits  and  hands  to  Zurga  a  necklace,  to  give 
to  her  mother  when  she  is  dead.  Zurga  recog- 
nizes the  necklace  as  the  one  with  which  he  re- 
warded Leila  for  having  saved  his  life  many 
years  ago,  for  he  was  the  fugitive  whom  the 
child  had  saved.  Meanwhile  the  people  are 
dancing  with  joy  at  the  expected  death  of  the 
two  victims.  The  sacrificial  pile  is  erected,  and 
Leila  and  Nadir  mount  it  and  encourage  each 
other.  Zurga  suddenly  enters,  shouting  that 
their  village  is  on  fire,  and  that  the  rabble  had 
better  save  what  they  can.  They  hastily  dis- 
perse and  run  home.  Then  Zurga  owns  that  he 
himself  has  been  the  incendiary  and  commands 
the  lovers  to  flee  together.  They  do  so.  But 
Nourabad  has  overheard  Zurga's  words,  de- 
nounces him  to  the  people  and  forces  him  to 
ascend  the  funeral  pyre. 


PETROUCHKA 

A  Ballet -burlesque  by  IGOE  STEAVINSKT 
First  production,  Petrograd,  1912 

In  a  public  square  of  Petrograd  a  magician 
is  giving  his  puppet  show  before  a  motley  crowd. 
He  sets  his  little  ballerina  with  her  two  com- 
panions a-dancing.  These  companions  are  the 
romantic  Petrouchka  and  the  sensual  Moor.    A 

750 


Prince  Igor 

fierce  quarrel  breaks  out  between  these  two 
suitors  to  her  favor.  Petrouchka  is  overpowered 
by  the  gigantic  Moor  and  is  thrust  into  a  dark 
dungeon,  there  to  bemoan  his  ill-luck  in  failing 
to  captivate  the  ballerina  and  in  missing  even 
his  opportunity  to  effect  an  escape.  He  is  un- 
able to  win  sympathy  for  his  hard  fate  until 
finally  the  Moor  kills  him  outright.  This  vio- 
lent episode  causes  consternation  among  the 
spectators,  until  the  magician  shows  the  audi- 
ence that  what  lies  stark  and  stiff  on  the  ground 
is  not  a  man  but  merely  a  rag-doll. 


PRINCE  IGOR 

Sentimental  Grand  Opera  in  a  prologue  and  four  acts 
by  A.  P.  BORODIN,  N.  A.  RIMSKY-KORSA- 
KOFF,    and  A.  C.  GLAZOUNOFF 

First  produced  in  Petrograd,   in  1890 

The  text  is  based  on  an  ancient  Russian  na- 
tional epic,  called  "  The  Epic  of  the  Army  of 
Igor,"  and  the  scene  is  laid  in  Southern  Russia, 
in  the  twelfth  century.  The  text  is  alive  with 
Russian  sentiment,  and  the  plot  is  colorful  and 
characteristic. 

The  prologue  shows  a  public  square  of  Pou- 
tivle,  where  the  populace  are  assembled  to  bid 
God-speed  to  the  departing  troops.    Prince  Igor 

75i 


The  Standard  Operaglass 

is  going  to  war  against  an  invading  Mongolian 
foe,  the  Polovtsi  and  enters  the  square  with 
great  pomp,  followed  by  his  warriors  and  nobles, 
all  streaming  out  of  the  cathedral.  But  of  a 
sudden  the  sky  darkens  and  the  sun  is  eclipsed. 
The  people  are  dismayed,  while  the  nobles,  es- 
pecially Galitsky  his  brother-in-law  and  Vladi- 
mir, his  son,  regard  it  as  an  evil  omen.  They 
try  to  hold  Prince  Igor  back  from  the  expedi- 
tion, but  he  is  unafraid  and  orders  a  review 
of  his  army  before  starting.  Two  gamblers, 
Eroshka  and  Scoula,  do  their  best  to  stir  up 
a  mutiny.  Igor  sends  for  the  women  to  bid 
them  farewell,  and  his  wife,  Jaroslavna,  wants 
him  to  stay,  but  he  gently  reminds  her  that  it 
is  his  duty  as  a  ruler  to  go.  He  commends 
her  to  the  care  of  Galitsky,  who  accepts  the 
charge. 

Prince  Galitsky  is  seen  at  work  in  the  first 
act  trying  to  wean  away  the  people  from  their 
loyalty  to  Igor  by  lavish  hospitality  and  gifts. 
In  return  Galitsky  is  flattered  by  the  whole 
court.  To  the  people  he  often  points  out  the 
difference  between  himself  and  his  brother-in- 
law,  the  latter  merely  carrying  on  bloody  and 
unprofitable  war  and  he  himself  cherishing  the 
delights  of  peace.  A  young  girl  has  been  ab- 
ducted for  Galitsky  by  the  scoundrel  Eroshka, 
and  a  petition  is  presented  by  a  delegation  of 

752 


Prince  Igor 

maidens  to  restore  her  to  her  family,  but  Gal- 
itsky  laughs  them  to  scorn.  The  fickle  people 
offer  him  the  crown  in  place  of  the  absent 
Igor,  and  proclaim  him  ruler.  Meanwhile 
Jaroslava  mourns  her  husband's  absence.  She 
hears  from  a  deputation  of  Galitsky's  vile  deeds, 
and  when  the  latter  enters  she  threatens  him 
with  a  complaint  on  Igor's  return,  but  her 
brother  mocks  her,  saying  that  Igor  is  dead 
and  he  himself,  master.  After  Galitsky  leaves, 
news  comes  to  Jaroslavna  that  her  husband  has 
lost  a  battle  and  been  taken  captive  by  the 
enemy.  A  delegation  of  nobles  offer  to  defend 
the  city  against  the  pagan  assaults  of  the 
Polovtsi,  but  while  they  are  boasting  flames  pro- 
claim that  the  city  has  been  surprised  and 
taken. 

In  the  second  act  Prince  Igor  and  his  son 
Vladimir  are  in  the  camp  of  the  Polovtsi  as 
prisoners  of  war,  and  the  son  has  fallen  in  love 
with  Khan  Kontchak's  handsome  daughter.  A 
chorus  of  young  girls  sing  of  the  joys  of  love, 
and  the  chief's  daughter  joins  them.  As  the 
imprisoned  Russians  pass  by,  the  girls  offer 
them  food  and  drink.  Vladimir  serenades  the 
maiden  who  converses  with  him.  Finally  they 
confess  their  mutual  love.  Ovlour,  a  Polovtsian 
convert  to  Christianity,  favors  Vladimir  and 
offers  him  the  means  of  flight  from  camp.    But 

753 


The  Standard  Operaglass 

Igor  scouts  the  idea.  Kontchak  himself  tries 
to  reconcile  his  vanquished  foe,  being  willing  to 
liberate  him,  merely  on  condition  of  abandon- 
ing any  revengeful  war  and  becoming  his  friend 
and  ally.  Igor  refuses.  There  is  dancing  and 
singing,  both  by  men  and  maidens. 

The  third  act  opens  with  the  return  of  tlio 
other  khan,  Gzak,  who  has  taken  Poutivle  and 
now  brings  with  him  many  prisoners.  Tales  are 
told  by  the  victors  which  grieve  the  souls  of 
the  Russian  prisoners  at  the  camp,  by  showing 
the  destruction  of  their  old  home.  Igor  and 
his  son  Vladimir  lament  the  misfortunes  of 
their  country,  and  the  former  becomes  con- 
vinced that  his  duty  lies  in  escaping  from 
prison  and  rallying  all  for  the  defense  of  home. 
In  fleeing  Igor  reaches  Poutivle,  but  Vladimir, 
his  son,  is  caught  and  owes  his  life  onlv  to  the 
intervention  of  Kontchak's  daughter. 

Act  four  opens  with  Igor's  return  to  Poutivle, 
and  the  reunion  of  husband  and  wife.  A  grand 
reception  is  given  him  by  the  populace  who  have 
wearied  of  Galitsky's  rule. 


754 


La  Princesse  D'Auberge 

LA  PRIXCESSE  D'AUBERGE 

Tragic  Opera  in  three  acts  by  JEAN  BLOCKX 
Text  by  PIERRE  VANEGIIEM 

The  first  production  of  this  work  took  place 
in  Brussels,  in  1902. 

Act  I.  The  scene  is  at  Brussels,  in  1750,  dur- 
ing Austrian  rule,  and  Rita,  the  handsome 
daughter  of  Bluts,  the  innkeeper,  has  made  his 
tavern  very  popular  by  reason  of  her  beauty, 
recklessness  and  gay  humor,  so  that  it  is  the 
resort  of  the  young  "  sports "  of  the  town. 
Rabo,  a  blacksmith,  is  awaking  at  dawn  on  the 
steps  of  the  inn,  having  been  ejected  from  there 
Peasants  are  coming  to  market.  A  blustering 
scene  follows.  Merlyn,  a  composer  and  man  of 
great  talent,  is  inveigled  by  Rita  to  join  in  a 
debauch.  Reinilde,  in  love  with  Merlyn,  is  un- 
able to  restrain  him  from  following  Rita's  invi- 
tation. Marcus,  enamored  of  Reinilde,  is  jilted 
by  her.  Rabo  is  witnessing  a  love  scene  between 
Merlyn  and  Rita,  and  threatens  both. 

Act  II.  Katelyne,  mother  of  Reinilde,  deplores 
Merlyn's  downfall.  Since  Rita  has  taken  hold 
of  him  he  has  sadly  deteriorated,  drinking  all 
day  long,  and  Merlyn  promises  to  change  his 
ways.  Reinilde  sings  one  of  the  songs  composed 
by  him,  and  declares  she  loves  him  still.  He 
denounces  Rita  as  the  source  of  all  his  woes. 

755 


The  Standard  Operaglass 

Marcus  enters,  and  tempts  him  to  come  to  the 
inn.  When  Merlyn  refuses,  he  excites  his 
jealousy,  telling  him  that  Rita,  weary  of  being 
left  alone,  shows  favor  to  others.  He  sets  out 
for  the  inn,  and  Eita  induces  him  to  go  with 
her  to  the  carnival.  In  the  next  scene  Eita  and 
Merlyn  are  the  centre  of  the  gay  mummers. 
Eabo  threatens  violence. 

Act  III.  At  the  inn.  Eita  watches  Merlyn 
recovering  from  his  last  debauch.  Eabo  comes, 
and  declares  his  passion  for  Eita,  but  she  rejects 
him  and  shows  him  the  door.  He  threatens 
those  present  with  death.  Eita's  sisters  enter  and 
upbraid  her  for  imagining  herself  to  be  a 
w,t  tavern  princess,"  and  next  Katelyne  and 
Eeinilde  come,  seeking  Merlyn.  They  are  turned 
away,  but  at  that  moment  Merlyn  drops  in,  and 
he  is  followed  by  Eabo,  Marcus,  and  others. 
Eabo  and  Merlyn,  both  enamored  of  Eita,  fight 
to  the  death.  As  Merlyn  falls  the  news  is 
brought  in  that  he  has  been  victorious  in  the 
great  national  music  contest  for  which  he  com- 
peted. Merlyn  dies  in  the  arms  of  his  mother, 
and  Eeinilde  curses  Eita  as  the  cause  of  his 
murder. 


750 


Quo  Vadis 

QUO  VADIS 

Religious  Opera  in  five  acts  by  J.  NOUGUES 

Text  based  on  SIENKIEVICZ'  famous  novel  of  the  saint 

name 

The  initial  performance  of  this  work  was 
given  at  Nice,  1909.  The  scene  is  laid  in  Rome, 
about  50  A.  D.' 

Act  I.  At  the  gardens  of  Petronius.  Eunice 
and  Iras,  slaves,  decorate  statues.  Petronius 
enters  with  Vinicius,  the  latter  telling  of  his 
infatuation  for  Lygia.  Eunice  tells  Vinicius 
of  a  soothsayer  who  can  predict  the  future.  He 
is  summoned  and  says  Lygia  is  daughter  of  a 
king,  and  is  now  a  Roman  hostage.  Chilon. 
the  fortune-teller,  is  sent  out  to  ascertain  the 
meaning  of  a  symbol  —  a  fish  —  which  Lygia 
had  once  traced  in  the  sand. 

Act  II.  Nero,  the  emperor,  gives  a  great  fes- 
tival. At  Nero's  side  is  a  beautiful  stranger, 
Lygia,  and  this  arouses  the  jealousy  of  Nero's 
favorite  mistress,  Poppaea,  but  Petronius 
soothes  her.  Vinicius  and  Lygia  are  left  alone 
together,  and  he  pleads  for  her  love.  Lygia 
answers  that  she  cannot  be  his  because  she  is  a 
Christian  and  he  a  pagan.  Suddenly  a  ruddy 
glare  overspreads  the  sky.  It  is  Rome  burning, 
but  Nero  goes  on  singing  and  playing  the  lyre 
untroubled  by  the  danger.    The  populace  sud- 

757 


The  Standard  Operaglass 

denly  rise,  accusing  Nero  of  having  caused  the 
great  fire.  Poppaea  begs  Petronius  to  allay  the 
roused  passion  of  the  multitude. 

Act  III.  The  scene  is  a  wineshop  on  the  banks 
of  the  Tiber,  filled  with  soldiers,  gladiators,  and 
sailors.  Chilon  traces  the  sign  of  a  fish.  Dernas, 
a  Christian,  tells  him  that  the  apostle  will  be 
among  them  that  night.  Chilon  has  ascertained 
that  the  fish  is  a  symbol  of  Christianity.  He 
also  learns  that  Lygia  is  with  Demas's  wife, 
Myriam,  and  that  these  two  will  go  forth  that 
evening.  Chilon  bids  Croton,  the  giant  gladi- 
ator, come  with  him.  The  Christians  assemble 
at  a  house  on  the  river,  and  Lygia  and  St.  Peter, 
entering  this  house,  are  observed,  and  many  of 
the  Christians  taken  prisoner. 

Act  IV.  First  scene  is  at  the  arena  of  the 
Colosseum.  Christian  martyrs  are  seen,  among 
them  Demas  and  Myriam.  Peter  comforts 
them.  Vinicius  enters,  telling  Lygia  to  be  hope- 
ful, as  he  has  contrived  for  her  escape.  But 
Petronius  shuts  off  the  means  of  escape,  and 
Vinicius  declares  his  intention  of  following 
Lygia  to  death.  The  next  scene  shows  the  im- 
perial box,  with  Nero  and  Poppaea.  Ursus,  a 
slave  of  Lygia's  down  in  the  arena,  by  his 
enormous  strength  saves  Lygia  from  being 
killed  by  a  fierce  aurochs,  and  Nero  grants  her 
life,    Chilon  creates  a  mob  scene  in,  the  circus, 

T58 


La  Reginetta  Delle  Rose 

and  Xero  is  charged  with  heing  the  incendiary 
that  set  Rome  afire,  and  has  to  flee  from  the 
popular  fury. 

Act  V.  Petronius  at  his  rural  estate  is  urged 
hy  Lygia  and  Yinicius  to  go  with  them  to 
Sicily,  but  he  declines,  and  issues  a  letter  of 
parting  to  Xero.  Being  convinced  that  this  will 
mean  his  death,  he  has  his  arteries  opened  by 
Theocles,  the  physician,  and  dies  with  Eunice, 
who  confesses  her  love  for  him  toward  the  last. 
The  news  of  Xero's  death  and  of  the  safety  of 
Petronius  arrives  too  late  to  prevent  Petronius' 
end. 

LA  REGIXETTA  DELLE  ROSE 

Sentimental    Opera    in    three    acts    by    RUGGIERO 
LEONCAVALLO 

Text  by  ZANDONAI 

This  opera  was  first  produced  in  Rome,  1912. 
The  scene  changes  several  times. 

Act  I.  At  a  charity  fair  in  London,  Max, 
the  heir-apparent  of  Portowa,  is  among  the 
visitors.  He  there  sees  an  extremely  pretty 
flower  girl,  Lillian,  and  falls  desperately  in  love 
with  her.  The  tutor  of  Max,  Gin,  prevails  upon 
her  to  follow  the  prince  of  Portowa,  as  without 
her  he  will  not  return  there.  Max  is  on  his 
way  to  his  own  coronation,  his  father  having 

759 


The  Standard  Operaglass 

just  died,  but  Lillian  is  ignorant  of  this  and 
of  his  royal  rank,  acting  in  the  matter  just 
out  of  mere  good-nature. 

Act  II.  This  is  at  the  palace  of  Portowa. 
Lillian  is  at  once  arrested  after  her  arrival  as 
a  dangerous  person.  She  sees  her  lover  in  royal 
robes,  but  thinks  she  is  the  victim  of  a  plot. 
Max  reassures  her.  The  dowager  queen,  Max's 
mother,  schemes  to  make  him  marry  his  royal 
cousin,  Anita,  but  Anita  is  in  love  with  Max's 
cousin,  Pedro,  and  is  not  inclined  to  further 
this  plan.  The  populace  of  Portowa,  being  of  a 
free-and-easy  disposition,  in  the  meantime  have 
heard  of  Lillian's  incarceration,  and  threaten 
to  upset  the  throne  if  she  is  not  liberated  imme- 
diately. The  dowager  stops  interfering  and 
leaves  for  parts  unknown. 

Act  III.  Max,  after  freeing  Lillian,  invites  her 
to  share  the  throne  with  him.  He  proclaims  her 
hot  alone  his  consort,  but  dubs  her  his 
"  reginetta  delle  rose"  (little  queen  of  roses), 
and  signs  the  act  of  succession  with  a  rose  stem 
instead  of  a  penholder. 


760 


La  Reine  Fiametta 

LA  REIXE  FIAMETTA 

Tragic  Opera  by  XAVIER  H.  N.  LEROUX 
Book  based  on  Italian  chronicles 

The  initial  performance  of  this  work  took 
place  at  Paris,  1903.  The  scene  is  Bologna,  and 
the  time  the  fifteenth  century. 

A  military  adventurer,  Giorgio  d'Asti,  meets 
the  Cardinal  Cesare  Sforza,  who  offers  him  the 
throne  if  he  will  rid  the  country  of  Queen  Or- 
landa.  Together  they  concoct  a  clever  plot  for 
the  assassination  of  the  queen.  A  youth, 
Danielo,  is  chosen  as  the  fittest  instrument. 
At  first  Danielo  refuses  to  listen,  as  he  is 
unwilling  to  kill  a  woman.  But  Sforza  pre- 
vails upon  him  by  telling  him  a  mendacious 
storv  to  the  effect  that  his  brother  had  been 
murdered  at  the  instigation  of  the  queen.  Then 
he  is  given  a  dagger  and  speeded  on  his  mis- 
sion of  death. 

The  queen,  ignorant  of  the  plot,  is  meanwhile 
greatly  enjoying  herself  in  a  Clarissian  convent, 
where  she  has  been  admitted  under  the  pseu- 
donym of  Helena.  And  it  is  there  she  meets 
Danielo.  Instantly  they  fall  in  love  with  each 
other,  neither  being  aware  of  the  purposes  or 
identity  of  the  other.  At  last,  though,  Danielo 
discovers  who  it  is  he  has  learned  to  love.  The 
discovery  unmans  him.    He  is  handed  over  to  a 

761 


The  Standard  Operaglass 

tribunal  of  Franciscan  friars.  Queen  Orlanda, 
abdicating  in  order  to  save  her  lover's  life,  is 
herself  condemned  as  a  heretic.  But  the  two 
lovers  are  nevertheless  united  in  death.  The 
same  axe  strikes  both. 


EUSSLAN  AXD  LUDMILLA 

Fairy    Opera    in    five    acts   by    MICHAEL    IVANO- 
VITCH   GLINKA 

Text  after  a  poem  of  the  same  name  by  PUSHKIN 

This  highly  tuneful  opera  has  been  the  fore- 
runner of  fanciful  works  of  a  similar  scope  by 
later  Eussian  composers  like  Bimsky-Korsakoff, 
Stravinsky,  and  others.  It  uses  for  the  first 
time  in  Eussian  opera  a  deal  of  Oriental  color, 
and  is  in  this  as  in  other  respects  a  pioneer 
work. 

It  was  first  produced  in  Petrograd,  where  it 
shocked  many  by  its  lack  of  conventionality,  and 
delighted  others,  and  has  since  been  performed 
with  great  approval  at  Berlin  and  other  capitals. 

The  first  act  takes  us  to  the  festivities  held 
by  Prince  Svetozar  of  Kiev  in  honor  of  his 
daughter's  suitors,  these  being  Eussian,  the 
Eussian  knight-errant ;  Eatmir,  the  ardent  Tar- 
tar prince ;  and  a  rather  faint-hearted  Varangian 
chief,   Farlaf.     The  daughter,  fair  Ludmilla, 

76z 


Russian  and  Ludmilla 

smiles  on  Eusslan,  and  her  father  orders  there- 
upon the  nuptials  to  be  solemnized  immediately. 
But  mortals  must  reckon  with  the  favor  or  dis- 
favor of  supernatural  beings.  And  scarcely  is 
finished  the  jubilant  invocation  to  Lei,  the  god 
of  Love,  when  a  terrific  storm  approaches. 
Flashes  of  lightning  and  terrific  claps  of  thunder 
are  heard,  and  darkness  descends  upon  the  scene. 
When  light  returns  it  is  seen  that  the  princess 
is  missing.  Then  Svetozar,  distracted  at  the 
loss  of  his  child,  makes  a  solemn  vow  to  bestow 
her  upon  him  who  will  discover  Ludmilla  and 
restore  her  to  him.  The  three  suitors  at  once 
take  up  this  challenge  and  set  out  for  unknown 
parts  to  find  the  missing  princess. 

The  second  act  deals  with  the  supernatural 
beings  who  are  concerned  in  the  fate  of  Lud- 
milla. Russian  finds  Finn,  a  mighty  sorcerer 
and  the  good  genius  of  Russian,  in  his  cave, 
and  discloses  to  him  that  Ludmilla  has  been 
carried  off  by  Chernomor,  the  wonder-working 
dwarf,  who  is  enamored  of  the  princess.  Finn 
warns  Russian  against  the  magical  schemes  of 
Naina,  tells  him  how  to  avoid  her  counter-plots, 
and  speeds  him  on  the  way.  Farlaf  meanwhile 
has  already  despaired  of  winning  the  maiden  by 
legitimate  means.  He  meets  Naina,  who  ad- 
vises him  to  steal  Ludmilla  from  whoever  is 
going  to  rescue  her.    She  promises  to  frustrate 

763 


The  Standard  Operaglass 

the  efforts  of  both  Eusslan  and  Ratmir  to  over- 
come him. 

Eusslan  arrives  upon  a  deserted  battle-field 
shrouded  in  mist  and  strewn  with  the  bodies 
of  the  fallen.  He  picks  up  there  a  wondrous 
spear  and  shield  and  perceives  simultaneously 
the  severed  gigantic  head  of  Chernomor's 
brother.  The  lifeless  head  nevertheless  blows 
in  self-protection  a  devastating  gale  through  its 
nostrils,  a  breath  sufficient  in  its  power  to 
kill  Eusslan.  However,  our  hero  by  a  mighty 
spear-thrust  renders  the  head  impotent,  and 
imderneath  this  head  Eusslan  unearths  the 
magical  sword  by  which  he  will  free  his  sweet- 
heart. 

In  the  third  act  the  scene  shifts  to  the  en- 
chanted abode  of  Naina.  A  chorus  of  seductive 
Persian  virgins  is  wheedling  Eatmir,  the  Tartar 
suitor,  and  Gorislava  pleads  with  Eatmir  to 
come  back  to  her  whom  he  has  basely  deserted. 
Her  appeal  is  heard,  but  Eatmir  soon  forgets 
her  again  to  follow  the  fascinations  of  the  other 
maidens.  Eusslan  enters  the  place,  and  likewise 
is  threatened  by  a  similar  fate.  Finn,  his  pow- 
erful protector,  saves  him,  and  by  the  incan- 
tations of  Finn  the  splendid  palace  of  Naina 
crumbles  into  dust,  whereupon  Eusslan  is  at 
liberty  to  continue  his  search  for  Ludmilla. 

The  fourth  act  at  last  discovers  Russian  on 

764 


Russian  and  Ludmilla 

the  right  track,  in  the  enchanted  domain  of 
Chernomor.  Ludmilla  is  there,  having  suc- 
cumbed from  weariness  to  sleep.  The  powerful 
ogre,  Chernomor,  suddenly  makes  his  appear- 
ance, seats  himself  near  Ludmilla,  and  orders 
the  festivities  in  her  honor  continued.  It  is  at 
this  moment  that  Russian  intrudes,  and  the 
wonder-working  dwarf  plunges  her  immediately 
into  a  trance,  and  then  issues  forth  to  encounter 
his  bold  foe,  Russian.  But  Russian  by  the  aid 
of  the  magic  sword  conquers.  However,  he  is 
unable  to  break  the  spell  which  holds  Ludmilla 
in  the  bonds  of  unconsciousness.  Ratmir  and 
his  reconciled  sweetheart,  Gorislava,  now  join 
him,  and  on  their  advice  he  takes  his  way  back 
to  Kiev. 

The  fifth  act  opens  with  the  display  of  Naina's 
power,  since  Russian's  bride  has,  by  the  con- 
nivance of  this  female  demon,  been  taken  away 
from  Russian  by  Farlaf.  Chernomor's  spell, 
though,  still  holds  good.  Farlaf  is  unable  to 
awaken  Ludmilla  to  life,  although  he  brings  her 
back  to  her  father's  home  in  Kiev.  But  at  last 
Russian  comes  on  the  scene  ready  and  able  to 
rescue  her,  for  Russian  brings  with  him  the 
magic  ring  of  Finn,  and  delivers  her.  The  opera 
concludes  with  general  rejoicing. 


765 


The  Standard  Operaglass 
THE  SACEIFICE 

A  Dramatic  Opera  in  three  acts  by  FREDERIC  S. 
CONVERSE 

The  text  Unwise  by  him 

It  was  first  produced  in  Boston,  1911.  The 
scene  is  laid  in  California,  in  1846. 

The  first  act  takes  place  in  the  house  of  Sen- 
nora  Anaya,  a  lady  of  distinction  and  entirely 
of  Mexican  lineage.  Her  niece,  the  beautiful 
Sefiorita  Chonita,  is  visiting  her,  in  order  to 
be  near  her  lover,  Bernal,  an  officer  in  the  Mexi- 
can army,  then  at  war  with  the  United  States. 
The  latter  have  been  defeating  the  Mexicans, 
and  California  is  passing  out  of  Mexican  con- 
trol. Bernal  is  compelled  by  these  novel  cir- 
cumstances to  pay  clandestine  visits  to  his  sweet- 
heart. She  has  another  wooer,  Captain  Burton, 
who  is  fighting  in  the  American  army,  and  who 
is  calling  on  the  handsome  Mexican  lady  to  push 
his  own  suit.  Bernal,  hiding  in  a  clump  of 
bushes,  jealously  watches  the  American  offi- 
cer, grinding  his  teeth  in  impotent  rage.  Mean- 
while Sennorita  Chonita  is  pretending  to  return 
Burton's  affection  so  as  to  enjoy  his  favor  during 
the  dangerous  war  times.  But  Bernal,  un- 
mindful of  these  facts,  is  merely  roused  more 
and  more  to  anger  by  the  rivalry  existing  be- 

766 


The  Sacrifice 

tween  himself  and  the  American  protector  of 
the  family. 

The  second  act  passes  in  the  interior  of  a 
church  structure.  American  invaders  have 
converted  a  mission  church  into  their  barracks, 
demolishing  shrines  and  altars  in  the  process. 
There  is  a  typical  camp  scene.  American 
troopers  are  relating  their  adventures  during 
the  last  battle  with  the  Mexicans.  Suddenly  a 
company  of  gay  girls,  dancers  and  singers  enter 
and  then  go  with  the  American  soldiers  into  the 
large  gardens  of  the  mission.  Chonita  and  her 
maid  Tomasa  enter  unobserved,  their  purpose 
being  to  inform  themselves  of  the  events  pre- 
vious to  the  recent  fighting.  Burton,  being  ap- 
pealed to  for  information,  tells  about  Bernal's 
death.  He  then  learns  for  the  first  time  that 
Bernal  was  betrothed  to  Chonita.  However,  it 
turns  out  that  Bernal,  instead  of  having  been 
killed  in  the  engagement,  has  only  been 
wounded,  and  a  while  after  he  seeks  shelter  in 
the  church,  where  Chonita  conceals  him  in  one 
of  the  confessionals.  The  American  soldiers  be- 
come aware  of  the  presence  of  a  supposed  spy, 
and  suddenly  Bernal  betrays  himself  by  creeping 
out  of  his  hiding  and  springing  on  his  rival, 
Burton,  who  has  joined  Chonita  in  order  to  re- 
new his  wooing.  When  Bernal  makes  his  attack 
on  Burton,  Chonita  throws  herself  between  the 

767 


The  Standard  Operaglass 

two  men,  and  accidentally  is  wounded  by 
Burton,  while  Bernal  is  taken  captive  by  the 
American  troops. 

The  last  act  is  in  the  bedchamber  of  Chonita, 
where  she  lies  seriously  injured  and  in  a  de- 
lirium of  fever.  In  that  state  she  imagines 
that  Bernal  is  being  executed  by  the  Americans 
as  a  spy.  A  Mexican  priest  has  been  sent  for. 
He  obeys  the  call,  and  a  band  of  Mexicans  fol- 
low in  his  wake.  The  padre  conveys  a  message 
to  Burton,  requesting  his  permission  to  Bernal's 
paying  a  call  on  the  sick  girl.  Burton  not  only 
allows  this,  but  comes  in  person  with  Bernal. 
He  witnesses  the  meeting  of  the  two  Mexican 
lovers,  and  the  latter  forgot  everything  else  in 
the  transports  of  their  reunion.  Burton  makes 
up  his  mind  not  to  stand  in  their  way  any  longer, 
but  to  yield  the  way  to  his  rival.  His  regard  for 
the  girl  is  great  and  unselfish  enough  to  wish  for 
her  happiness  above  all.  Suddenly  the  band  of 
Mexicans  creep  up  and  make  an  attack  upon  the 
house.  Burton  recklessly  exposes  himself  to 
their  bullets,  is  hit,  and  dies  soon  after.  Chonita 
only  then  understands  the  great  sacrifice  her 
American  suitor  made  in  her  behalf.  She  rises 
with  difficulty  from  her  couch,  is  helped  to 
where  the  body  of  her  generous  wooer  lies,  and 
kneels  down  and  says  a  prayer  for  the  soul  of 
him  who  was  slain  for  her  sake. 

768 


The  Secret  of  Susanne 
THE  SECRET  OF  SUSAXXE 

Interlude  in  one  act  by  E.  WOLF-FERRARI 
Text  by  E.  GOLISCIANI 

The  first  production  was  at  Berlin,  1910.  The 
scene  is  Piedmont,  and  the  time  the  present. 

Count  Gil  and  his  bride  Susanne  are  spend- 
ing their  honeymoon  at  the  young  husband's 
estates  in  Piedmont,  and  here,  in  the  pleasant 
drawing-room  of  the  old  chateau,  the  count  com- 
ing in  suddenly,  notices  the  unmistakable  odor 
of  tobacco  smoke.  It  is  really  the  bride, 
Susanne,  who  is  passionately  fond  of  her  cigar- 
ette, and  who  is  mortally  afraid  this  may  dis- 
please her  husband.  She  has  therefore  bribed 
the  butler,  Sante,  to  connive  at  the  deception 
and  to  give  her  an  opportunity  every  little 
while  to  indulge  her  foible.  But  Count  Gil  has, 
of  course,  no  notion  of  this  simple  truth.  In- 
stead, the  young  husband,  when  he  kisses  his 
bride  on  her  hair  and  discovers  the  traces  of 
smoke,  jumps  at  once  to  the  conclusion  that  he 
has  a  rival  even  thus  early,  and  grows  des- 
perately jealous.  He  begins  to  heap  reproaches 
on  his  young  wife,  and  she,  thinking  he  refers 
only  to  her  habit  of  smoking,  tries  to  pacify 
him,  but  in  a  rather  light  vein.  The  count  deems 
this  quite  intolerable,  and  takes  exception  to  her 
tone  of  levity,  without,  however,  speaking  out 

769 


The  Standard  Operaglass 

plainly  as  to  his  suspicions.  Thus  the 
couple  talk  and  upbraid  each  other  at  cross- 
purposes,  until  a  full-sized  quarrel  ensues,  in 
the  course  of  which  furniture  is  overturned  and 
glassware  is  smashed.  A  sort  of  reconciliation 
is  patched  up,  and  Susanne  reminds  Gil  that  he 
has  an  engagement  at  that  hour.  He  says  noth- 
ing, goes  off,  but  has  his  suspicions  newly 
aroused  by  the  above  circumstance.  Therefore 
he  returns  without  warning  to  Susanne's  bou- 
doir, and  detects  anew  the  odor  of  cigarette 
smoke.  In  his  uncontrollable  fury  he  seizes  the 
supposed  culprit's  hand,  and  in  doing  so  burns 
his  fingers  with  the  glowing  cigarette  she  had 
attempted  to  hide.  Gil,  instantly  sizing  up  the 
situation,  sees  that  he  has  made  a  fool  of  him- 
self, bursts  out  in  hearty  laughter,  and  Susanne 
confesses  the  whole  awful  truth  to  him.  As  a 
token  that  he  has  forgiven  her  he  even  hands  his 
wife  a  new  cigarette,  and  daintily  helps  her 
light  it. 


770 


Siberia 

SIBERIA 

Tragic   Opera   in   three  acts  by  UMBERTO   GIOR- 
DANO 

Text  by  F.  CIVININI 

This  opera  was  first  produced  in  1903,  at 
Milan. 

The  first  act  takes  place  in  a  palace  at  Petro- 
grad,  which  was  given  by  Prince  Alexis  to  his 
mistress,  Stephana.  Ivan,  a  trusted  servant  of 
the  prince,  and  Xikona  are  watching  for  the 
homecoming  of  their  mistress.  Ivan  drops  off 
to  sleep.  Day  breaks  at  last.  Gleby,  a  spy  in 
the  pay  of  the  prince,  enters  and  inquires  for 
Stephana.  He  is  told  that  she  is  still  abed,  but 
he  opens  the  door  to  her  chamber,  and  finds  the 
room  empty  and  the  bed  undisturbed.  Prince 
Alexis  suddenly  appears,  having  friends  with 
him,  whom  he  wishes  to  entertain.  He  asks  for 
Stephana,  and  this  time  Gleby,  in  order  to  shield 
himself  for  neglect  of  duty,  pushes  Xikona  into 
the  vacant  room,  and  pretends  that  Stephana  has 
not  yet  risen  and  must  not  be  disturbed. 
Alexis  remains  for  some  little  while,  awaiting 
Stephana,  but  when  she  does  not  appear,  departs 
with  his  friends.  Hardly,  however,  has  he  done 
60,  when  Stephana  is  seen  at  the  garden  gate. 
Gleby,  the  spy,  stops  her,  asking  her  who  her 
new  lover  may  be.     But  Stephana  ignores  his 

77i 


Ihe  Standard  Operaglass 

questions,  and  is  about  to  enter  her  own  room, 
when  Prince  Alexis,  who  has  Captain  Walitzin 
with  him,  returns.  The  latter  has  come  to  bid 
farewell  to  Stephana,  having  been  summoned 
to  join  his  regiment  which  is  stationed  in  a 
Siberian  town.  The  prince  leaves  with  Walitzin. 
Vassili,  a  young  officer,  enters.  He  tells  Nikona 
about  a  young  girl  he  has  met  and  with  whom 
he  is  smitten.  Stephana  enters,  and  Vassili 
recognizes  in  her  his  unknown  fair  one.  But 
Stephana  is  not  aware  of  his  adoration,  and 
takes  him  to  be  a  spy  of  the  prince,  sent  by  him 
to  watch  her,  and  upbraids  him.  Nikona  gives 
Stephana  the  key  to  the  situation,  and  Vassili 
declares  his  love  for  Stephana,  who  accepts  it. 
Then  she  and  Nikona  both  press  Vassili  to  leave 
before  the  prince  should  discover  him.  Sud- 
denly Alexis  returns,  and  finding  Vassili  present 
under  suspicious  circumstances,  he  wants  to 
know  who  he  is.  Stephana  replies :  "  It  is  he 
whom  I  love."  Alexis  is  stung  by  jealousy,  and 
makes  an  insulting  remark  to  Vassili.  Both 
draw,  and  Vassili  wounds  the  prince,  his  su- 
perior in  the  army.  With  this  he  realizes  his 
dangerous  position,  and  cries  out :  "  Farewell 
to  glory ! " 

The  second  act  shows  a  convict  station  at  the 
borders  of  Siberia.  A  captain  is  awaiting  with 
impatience  a  body  of  political  offenders  banished 

772 


Siberia 

to  Siberia.  Incidental  scenes  in  which  pedlars 
and  peasants  figure.  The  train  of  convicts  halts 
at  the  station.  Stephana  comes  in  and  shows  a 
written  permit  to  speak  to  Convict  No.  107, 
who  is  brought  in.  It  is  Yassili,  and  the 
two  have  a  tender  meeting,  Yassili  speak- 
ing pathetically  of  the  tortures  he  has  suffered 
lately.  Stephana  implores  him  to  allow  her  to 
join  the  band  of  convicts  and  share  his  fate, 
but  he  demurs,  saying  that  the  sacrifice  would 
be  too  great.  Stephana  persists,  and  both 
enter  the  ranks  of  the  banished  and  march  into 
exile. 

The  scene  of  the  third  act  is  at  the  prison 
town  in  Siberia.  It  is  Eastertime.  Walitzin, 
who  is  in  command,  orders  that  work  cease  and 
the  holidays  be  observed.  The  rude  blockhouse 
of  Yassili  and  Stephana  is  visible  in  the  rear. 
A  fugitive  comes  and  outlines  plans  of  escape 
to  the  two  lovers,  who  decline.  Walitzin  ex- 
presses his  sympathy  for  the  fate  of  Stephana, 
but  she  repels  his  advances,  and  tells  him  she  is 
happy  to  share  the  lot  of  her  beloved.  Gleby 
enters  and  details  a  plan  to  ameliorate  the  harsh 
conditions  under  which  Stephana  is  living.  She 
however,  refuses  to  listen  to  him.  Gleby, 
who  had  acted  under  instructions  from  Prince 
Alexis,  grows  angry  at  being  spurned  and 
falsely  informs  Yassili  that  Stephana  has  been 

773 


The  Standard  Operaglass 

unfaithful  to  him.  Vassili  is  heartbroken  at 
the  news,  but  is  soon  furnished  proof  that  the 
charge  is  false.  The  two  then  prepare  for  flight, 
but  Gleby  betrays  their  intentions  to  the  guards, 
who  shoot  at  the  fugitives.  The  report  of  a 
gun  is  heard.  Stephana  has  been  mortally 
wounded  and  Vassili  is  apprehended.  Stephana 
appeals  to  Walitzin  to  set  her  lover  free,  and 
Walitzin,  touched  at  her  devotion,  complies  with 
her  request.  Stephana  is  overjoyed,  rallies,  and 
sinks  into  the  arms  of  her  lover,  where  she 
finally  breathes  her  last. 

SIGURD 

Grand  Opera  in  four  acts  by  CHARLES  REYER 
Text  is  drawn  from  Northern  mythology 

This  opera  saw  its  premier  performance  at  the 
Monnaie  Theater,  Brussels,  in  1884. 

Act  I.  Sigurd  has  rescued  Hilda,  the  young 
sister  of  King  Gunther,  who  had  been  enslaved. 
She  is  passionately  in  love  with  him,  and 
tells  her  devoted  attendant,  Ute,  that  she  will 
marry  her .  deliverer,  even  though  King  Attila 
has  already  sent  an  embassy  to  ask  her  hand 
in  wedlock.  Ute  employs  a  magic  philtre  with 
Sigurd  to  bring  him  to  her  foster-child's  feet. 
At  a  great  banquet  given  in  honor  of  Attila's 
envoys  there  is  told  a  tale  about  Brunhild,  the 

774 


Sigurd 

valkyrie,  whom  Odin  had  enthralled  and  held  in 
sleep  while  a  wall  of  fire  encircles  her  to  keep 
off  intruders.  Gunther  wishes  to  free  the  divine 
warrior  maiden  and  so  does  Sigurd  himself. 
Sigurd  defies  Gunther,  who  is  deeply  indebted 
to  him,  and  offers  his  favor  and  great  riches. 
Sigurd  accepts  these  proffers,  but  stipulates 
that  Gunther  must  aid  in  the  rescue  of 
Brunhild.  Meanwhile  the  magic  potion  has 
been  administered  to  Sigurd  by  Ute's  cunning, 
and  Sigurd's  love  changes.  He  is  now  violently 
enamored  of  Hilda,  but  by  the  terms  of  his  bar- 
gain with  Gunther  is  forced  to  aid  him  first  in 
the  deliverance  of  the  valkyrie.  He  obtains, 
however,  Gunther's  solemn  pledge  to  wed  his 
sister,  Hilda,  to  the  young  hero  in  reward  for 
services  rendered.  Gunther,  Sigurd,  and  Hagen 
together  depart  for  Iceland  where  Brunhild 
dwells. 

The  second  act  takes  the  audience  first  to  the 
sacred  forest  in  Iceland,  where  the  high  priest  is 
celebrating  a  feast  in  honor  of  Freya,  the  North- 
ern goddess  of  love.  The  three  wayfarers  con- 
fide their  purpose  to  the  priest.  The  latter  dis- 
courages them,  but  finally  says  that  in  any  case 
Odin  will  allow  only  a  single  hero  to  attempt  the 
great  feat.  Sigurd  is  the  one  chosen,  and  the 
priest  gives  him  the  magical  horn  which  he  must 
wind  thrice  to  make  the  enchanted  castle  rise 

775 


The  Standard  Operaglass 

from  the  waters.  Gunther  and  Hagen  leave  for 
home.  There  is  a  change  of  scene,  and  Sigurd 
is  observed  near  Brunhild;  she  welcomes  her 
deliverer  and  in  token  of  her  great  love  presents 
him  with  her  virgin  girdle.  She  and  Sigurd 
are  borne  off  by  a  vessel  drawn  by  three  swans. 

In  Act  III  Brunhild  is  asleep  in  Gunther's 
garden,  Sigurd  watching  by  her  side.  Magic 
voices  summon  Sigurd  away,  and  when  Brunhild 
wakes  she  deems  Gunther,  who  has  stolen  to  her 
side,  her  hero.  The  scene  changes.  Homage  is 
paid  by  Gunther's  subjects  in  the  sacred  woods. 
Sigurd  demands  of  Gunther  the  hand  of  his 
sister  in  marriage  and  receives  it.  During 
the  wedding  ceremonial,  however,  as  Brunhild 
is  holding  Hilda's  and  Sigurd's  hands  and  join- 
ing them,  the  gods  reveal  to  Brunhild  that  Gun- 
ther has  deceived  her,  and  that  it  was  not  he 
who  delivered  her  out  of  the  magic  sleep. 

The  fourth  act  discovers  Brunhild  now  mar- 
ried to  Gunther,  but  ever  sighing  and  complain- 
ing to  Odin,  her  godfather,  that  she  has  be- 
come the  wife  of  Gunther,  instead  of  Sigurd. 
Out  of  pride  Hilda  shows  Brunhild  the  girdle 
which  she  once  gave  to  Sigurd.  This  proves 
to  the  latter  conclusively  that  not  Gunther  but 
Sigurd  is  the  one  to  whom  she  bared  her  maiden 
soul.  She  feels  that  by  Odin's  own  law  it  is 
Sigurd  she  should  love,  although  Hilda  stands 

7/6 


Suor  Angelica 

in  the  way  of  that.  She  accuses  Gunther,  telling 
him  that  she  can  never  love  him,  but  must 
always  cherish  Sigurd,  and  she  urges,  there- 
fore, that  the  two  heroes  should  fight  a  duel 
to  the  death,  in  order  to  determine  which  of  the 
two  is  the  master  and  which  should  perish. 
Brunhild's  magical  charms  have  also  opened 
Sigurd's  eyes,  and  he  now  violently  falls  in  love 
with  Brunhild.  Gunther,  convinced  that  Sigurd 
and  Brunhild  are  plotting  together,  orders  his 
vassal,  Hagen,  to  murder  Sigurd.  Hagen  does 
so.  Hilda  then  summons  the  wild  hordes  of 
Attila  to  wreak  vengeance  on  her  perfidious 
brother. 

SUOR  ANGELICA 

Romantic   Opera  in  three   acts  by   GIACOMO  PUC- 
CINI 

Text  by  ILLICA  and  GIACOSA 

First  performance  in  Rome,  1914.  The 
scene  is  Italy,  end  of  the  fifteenth  century. 

Act  I.  Sister  Angelica,  a  daughter  of  a  noble 
family  of  Florence,  has  been  compelled  by  her 
proud  relatives  to  take  the  veil  because  of  a 
youthful  error.  For  seven  long  years  she  has 
been  vainly  waiting  to  hear  from  all  those  dear 
to  her.  Her  soul  has  been  torn  by  repentance 
and  longing.      The  abbess  of  the  convent  of 

777 


The  Standard  Operaglass 

which  she  is  an  inmate  enters  and  makes  an- 
nouncement that  Angelica's  aunt,  the  princess, 
has  come  to  call  on  her.  The  abbess  warns  the 
sister  that  she  must  be  full  of  submission  and 
humility  in  conversation  with  her  visitor. 

Act  II.  The  princess  coldly  tells  Angelica 
that  she  has  come  to  ask  her  to  sign  a  certain 
act  of  release,  a  document  made  legally  neces- 
sary by  the  approaching  nuptials  of  Angelica's 
younger  sister.  She  adds  that  only  one  course 
is  open  to  Angelica,  namely,  strict  and  life- 
long expiation.  Finally,  in  answer  to  urgent 
questions  by  Sister  Angelica,  the  princess  in- 
forms her  that  her  child,  "the  babe  she  had 
seen  and  kissed  only  once  since  its  birth,"  had 
died  two  years  previously. 

Act  III.  Angelica,  in  a  sudden  frenzy  of 
despair,  after  hearing  this  news,  concocts  a 
poison  and  attempts  suicide.  But  remorse 
seizes  her.  She  implores  the  Virgin  not  to 
let  her  die  in  mortal  sin,  and  then  the  miracle 
takes  place.  The  Mother  of  Comfort  sud- 
denly appears  on  the  threshold  of  the  little 
church,  enveloped  in  heavenly  radiance;  a 
blond  child  walks  in  front  of  the  Virgin  who, 
with  a  gesture  of  ineffable  benevolence,  gently 
pushes  the  boy  into  the  arms  of  his  dying 
mother,  whilst  a  choir  of  nuns  and  angels  sings : 
"  Thou  art  saved  !  " 

7/8 


Tiefland 

TIEFLAND 

A   Dramatic   Opera   in   prologue   and   *hree   acta    by 
EUGENE  D  'ALBEET 

The  book  is  by  RUDOLPH  LOTHAR,  after  a  story 

This  work  was  first  seen  at  Prague,  1903. 
The  scene  is  laid  in  the  Pyrenees  and  a  valley 
in  Catalonia;  time,  the  present. 

The  prologue  shows  a  mountain  pass  in  the 
Pyrenees.  Pedro,  the  shepherd,  has  hitherto 
passed  his  days  in  these  mountains  and  has 
seldom  seen  any  other  human  face  save  that  of 
Xando,  his  comrade.  Scarcely  ever  has  he  met 
women,  but  he  longs  for  the  day  when  the 
Virgin  will  send  him  some  nice  woman  for 
a  wife.  One  day  Pedro's  employer  comes  to 
see  him,  leading  by  the  hand  a  handsome  girl 
from  the  plains  below.  He  tells  him  that 
this  shall  be  his  wife  if  he  will  come  forth 
from  his  rocks  and  go  to  live  with  her  near 
the  mill.  Pedro  does  not  know  when  this  offer 
is  made  to  him  that  Martha,  the  girl  thus 
offered  to  him,  has  been  the  mistress  of 
Sebastiano,  and  that  the  latter  is  simply  using 
this  means  with  unsophisticated  Pedro  to  re- 
store before  the  world  Martha's  respectable 
name. 

The  interior  of  the  mill  is  shown  in  Act  I. 
The  servants  of   Sebastiano  are  all   aware  of 

779 


The  Standard  Operaglass 

Martha's  intimate  relations,  with  the  exception 
of  Pedro  himself,  and  in  consequence  they 
amuse  themselves  highly  with  his  ignorance. 
Sebastiano  at  this  time  is  engaged  to  a  well-to-do 
farmer's  daughter,  and  plans  that  the  marriage 
with  Pedro  should  furnish  a  convenient  cloak 
for  his  illicit  relations  with  Martha.  The  latter, 
however,  is  not  at  bottom  of  a  deceitful  nature, 
and  as  she  has  found  much  in  Pedro  she  likes 
and  esteems,  she  hates  deluding  him  constantly 
as  Sebastiano  expects  her  to  do.  She  is  unable 
to  discover  a  way  out  of  the  difficulty,  and  at 
last  the  wedding  of  Pedro  and  Martha  is  cele- 
brated with  much  noise.  Pedro  in  his  igno- 
rance of  the  real  state  of  affairs  accepts  delight- 
edly the  mock  congratulations  of  the  other  ser- 
vants. Sebastiano's  purpose  is  to  continue 
his  relations  with  Martha  immediately  after  the 
wedding  ceremony,  but  Martha  foils  him  by  a 
ruse  and  knows  also  how  to  baffle  her  nomi- 
nal husband. 

In  the  second  act  Nuri,  a  young  peasant  girl 
who  is  secretly  in  love  with  Pedro,  accidentally 
finds  him  alone  and  begins  to  chat  with  him. 
Martha  surprises  these  two,  and  straightway 
gr,ows  jealous.  She  orders  Nuri  out  of  the 
house,  and  Pedro  goes  with  her.  Martha  is 
wretched  and  goes  to  old  Tomaso  for  advice, 
but  when  he  says  the  best  way  would  be  to  make 

780 


Tiefland 


a  clean  breast  of  it  to  Pedro  she  is  unwilling  to 
do  that,  because  she  fears  to  lose  Pedro  alto- 
gether thereby.  Then  Pedro  comes  back  to  her, 
saying  that  he  has  been  considering  matters  and 
finds  his  proper  place  is  the  highland,  not  the 
plains.  Martha  then  pleads :  "  Ah,  take  me 
along ! "  But  Pedro,  now  enlightened,  sud- 
denly flares  up  and  advances  with  a  dagger,  but 
is  prevented  from  harming  her.  Then  the  two 
patch  up  a  sort  of  peace  and  resolve  to  flee. 
This  for  the  moment  is  rendered  impossible  by 
the  entrance  of  Sebastiano,  who  is  followed  by 
a  group  of  villagers  eager  to  reap  all  the  amuse- 
ment possible  from  the  situation.  Sebastiano 
thrums  a  guitar  and  bids  Martha  to  dance  for 
the  crowd.  But  Pedro  in  a  rage  flies  at  Sebas- 
tiano's  throat,  and  the  puzzled  villagers  have  to 
separate  these  two. 

The  last  act  shows  the  rupture  of  Sebastiano's 
engagement  because  his  betrothed  has  dis- 
covered his  duplicity  and  immoral  conduct. 
When  he  next  approaches  Martha  and  wishes  to 
resume  their  former  relations,  she  spurns  him 
to  his  utter  amazement.  He  flies  into  a  fury 
and  tries  to  overpower  the  girl.  But  Martha 
screams  for  help,  and  Pedro  comes  to  the 
rescue,  his  trusty  dagger  in  his  hand.  See- 
ing that  Sebastiano  is  unarmed,  he  throws 
the  weapon  aside,  and  attacks  his  opponent  with 

78i 


The  Standard  Operaglass 

Ms  bare  fists.  After  a  terrific  struggle  he  is 
victorious  and  throws  Sebastiano  into  a  corner, 
powerless.  The  crowd  of  villagers,  who  came  to 
jeer  at  him,  are  now  dumb  with  fear.  Pedro 
hurls  defiance  at  them  all.  "Why  don't  you 
laugh  now  ?  "  he  demands.  Then  he  shoulders 
his  handsome  young  bride  and  strides  off  into 
the  freedom  of  his  mountains. 


LES  TROYENS 

(The  Trojans  ) 

Musical    Drama    in    two    parts    and    eight    acts    by 
HECTOR  BERLIOZ 

The  text  by  MERIM^E 

This  work  was  first  shown  in  Paris,  1863. 
The  action  is  partly  based  on  the  Aeneid. 

Part  I.  Act  I.  The  Trojans  are  robbing  the 
deserted  camp  of  the  Greeks  before  Troy  and 
gazing  upon  the  great  wooden  horse  left  behind ; 
Cassandra  prophesies  that  evil  will  befall  them. 

Act  II.  News  of  the  dreadful  death  of  the 
priest,  Laocoon,  is  brought  to  the  Trojans,  and 
to  appease  the  goddess,  Pallas,  whom  the  priest 
had  slighted,  they  drag  inside  the  city  walls  the 
gigantic  horse.  Again  Cassandra  presages 
terrible  consequences. 

Act  III.    The  spirit  of  Hector  tells  Aeneas 

783 


Les  Troyens 

of  the  sad  fate  of  Troy  and  urges  him  to  land 
on  Ansonian  shores  and  found  a  new  nation. 
The  Greeks  meanwhile  are  burning  Troy.  In 
the  next  scene,  at  the  palace  of  Priam,  Cas- 
sandra relates  the  facts  about  the  death  of 
Choroebus  and  the  retreat  of  Aeneas.  She  her- 
self, rather  than  be  taken  prisoner,  commits 
suicide. 

Part  II.  Act  I.  Dido's  palace.  Jarbas  en- 
deavors to  coerce  Dido  to  marry  him.  She  re- 
ceives Aeneas  kindly. 

Act  II.  Aeneas  and  his  companions  defeat 
Jarbas  and  rescue  Dido,  who  falls  in  love  with 
the  hero.  Mercury,  the  messenger  of  the  gods, 
advises  Aeneas  not  to  loiter,  but  to  speed  on  to 
Italy. 

Act  III.  Xarbal  warns  Dido  that  Aeneas  will 
not  neglect  his  mission  because  of  her  love.  In 
another  scene  Dido  and  Aeneas,  while  out  on 
the  chase,  are  overtaken  by  a  storm  and  seek 
shelter  in  a  cave. 

Act  IV.  Aeneas  now  makes  up  his  mind  to 
return  to  Italy.  He  sees  the  vessels  of  the 
Trojans  in  the  harbor.  Although  Dido  attempts 
to  hold  him  back  from  departure,  he  succeeds 
in  boarding  his  ship. 

Act  V.  First  scene,  Dido's  palace.  The 
queen  is  still  bent  on  delaying  Aeneas'  going, 
btft  in  vain.     "When  she  realizes  that  he  has 

783 


The  Standard  Operaglass 

sailed  away  she  issues  orders  that  her  own 
funeral  pyre  be  erected.  In  the  next  scene  she 
is  seen  mounting  the  pyre,  whence  she  predicts 
that  an  avenger  will  rise  from  her  ashes. 

VEESIEGELT 

Comie  Opera  in  one  act  by  LEO  BLECH 
Text  by  BATKA  and  PORDES-MILO 

This  was  first  produced  in  Hamburg,  1908. 
The  scene  is  a  small  town  in  Germany;  time, 
1830. 

Braun,  the  burgomaster,  is  in  love  with  a 
pretty  widow,  Frau  Schram,  but  she  has  thus 
far  avoided  a  definite  answer  to  his  suit. 
Braun's  daughter,  Else,  is  in  love  with  Bertel, 
the  town  clerk.  This,  however,  does  not  please 
the  mayor,  who  desires  a  more  exalted  match 
for  his  child.  In  attempting  to  visit  his  wrath 
upon  Bertel's  mother,  Frau  Willmer,  he  is  about 
to  seize  her  furniture  for  unpaid  taxes.  A  huge 
wardrobe,  the  most  cherished  piece  of  her  house- 
hold goods,  she  begs  Frau  Schramm,  who  is 
friendly  to  her,  to  keep  at  her  house  till  the 
trouble  is  over.  Lampe,  the  bailiff,  accidentally 
sees  this  bulky  piece  of  furniture  being  de- 
posited at  Frau  Schramm's,  whereupon  that 
petty  official  hies  him  to  the  burgomaster  and 
reports  the  case.     Braun  does  call,  but  when  he 

784 


Versiegelt 

confronts  Frau  Schramm  he  is  much  more  con- 
cerned with  herself  than  with  the  wardrobe. 
The  widow  has  pity  upon  the  love-lorn  burgo- 
master at  least  to  the  extent  of  permitting  him 
to  implant  a  chaste  kiss.  But  at  that  moment 
there  is  a  knock  at  the  door,  and  Braun  conceals 
himself  in  the  huge  piece  of  furniture. 
Lampe  enters  and  places  the  official  seal  upon 
the  wardrobe,  but  immediately  thereafter  hears 
a  queer  noise  issuing  from  the  locked  and  sealed 
wardrobe.  He  calls  for  help,  and  Else  and 
Bertel  enter.  The  arch  widow  now  makes  these 
two  play  a  bit  of  wilful  comedy  for  the  benefit 
of  the  hidden  burgomaster.  In  a  bantering 
conversation  the  two  young  lovers  say  they 
would  not  elope  —  oh,  no  —  but  that  they  will 
not  unlock  that  wardrobe  and  let  out  its  "  con* 
tents  "  until  Braun  has  indicated  his  consent  to 
their  union.  So  Braun  at  last  gives  his  ap- 
proval, and  when  Lampe,  who  all  this  time  has 
been  away  to  summon  aid,  now  returns,  Bertel 
pretends  that  he  was  locked  up  accidentally 
in  the  wardrobe.  The  doughty  burgomaster  is 
accepted  as  her  second  husband  by  the  blooming 
widow,  and  everything  is  once  again  in  order. 


785 


The  Standard  Operaglass 
LE  VIEIL  AIGLE 

Lyric   Drama   in    one    act 
Words  and  music  by  RAOTJL  GUNSBOURG 

This  work  was  for  the  first  time  produced  at 
Monte  Carlo,  in  1909.  The  scene  of  the  story 
is  the  rocky  coast  of  Crimea  in  the  fourteenth 
century.  The  Khan .  Asvez  el  Moslaim  is  a 
feudal  lord  who  rules  over  several  provinces. 
When  the  curtain  rises  he  is  discovered  with 
his  son  Tolaik,  who  is  just  back  from  a  success- 
ful campaign  against  the  Russians.  The  khan 
informs  him  that  great  preparations  have  been 
made  to  celebrate  his  return,  but  Toliak  is  sad 
and  informs  his  father  that  he  only  seeks  forget- 
fulness  in  death.  He  has  asked  the  khan  to 
accompany  him  to  a  secluded  spot  on  the  sea- 
shore, and  there  Toliak  asks  him  if  the  dearest 
wish  of  his  heart  will  be  granted  by  his  father. 
On  being  assured  by  the  khan  that  it  will  make 
him  happy  to  do  so,  the  son  confesses  that  he 
loves  Zina,  the  favorite  slave  of  his  father.  De- 
spite the  great  affection  the  khan  has  for  her, 
he  agrees  to  give  her  to  his  son.  He  sends  for 
Zina,  and  bids  her  follow  Toliak,  but  she  re- 
fuses to  comply,  preferring  to  remain  faithful 
to  the  old  chieftain,  the  "  old  eagle."  The  khan, 
not  wishing  to  lose  the  love  of  his  son,  decides 
to  sacrifice  his  slave.     Zina,  understanding  his 

786 


La  Vivandiere 

motive,  throws  herself  into  the  sea.  But  the 
breach  between  father  and  son  remains  un- 
healed. So  the  khan  himself  follows  Zina  to 
the  grave. 

LA  VIVANDIERE 

Romantic  Opera  in  three  acts  by  J.  GODARD 
Text  after  an  historical  novel 

This  work  saw  its  initial  performance  in 
Paris,  1875.  The  scene  is  in  France,  during  the 
great  revolution. 

The  first  act  happens  in  Lorraine,  1794.  Re- 
publican soldiers  are  quartered  near  the  mansion 
of  the  Marquis  de  Rieul,  a  royalist,  and  the 
latter's  son,  Georges,  who  favors  the  cause  of 
the  republic,  is  in  love  with  Jeanne,  a  peasant 
maid  who  has  been  reared  at  the  mansion. 
Marion,  the  vivandiere,  arriving  with  her 
donkey  cart,  serves  wines  to  the  soldiers  who 
sing  a  merry  song.  Georges  comes  upon  this 
scene  by  accident,  and  being  asked  by  Marion 
to  join  the  defenders  of  his  country,  declares 
himself  ready  for  it  at  once.  Before  enlisting 
he  bids  farewell  to  Jeanne,  but  is  discovered 
by  his  father,  who  disowns  his  son  and  drives 
Jeanne  from  his  estate.  Georges  follows  the 
Republican  ranks,  in  order  to  enlist,     Jeanne 

1*7 


The  Standard  Operaglass 


faints  on  the  spot,  and  is  dumped  by  the 
vivandiere  into  her  famous  donkey  cart. 

The  second  act  occurs  a  year  after,  in  the 
Vendee,  where  Eepublican  troops  are  waiting 
for  reinforcements  in  order  to  attack  a  royalist 
stronghold.  Unknown  to  Georges  it  is  his 
father  who  commands  the  royalist  forces  in  the 
town.  Marion,  aware  of  this,  induces  Georges 
to  go  off  on  a  special  military  mission.  Some 
pretty  by-play  between  the  vivandiere  and 
Jeanne  occurs.  Sergeant  La  Balafre  tells  of 
stirring  battle  feats. 

Act  III.  The  Eepublicans  have  won  the  long 
and  bloody  campaign,  and  the  civil  war  is  over. 
The  victory  is  being  celebrated.  The  marquis, 
father  of  Georges,  is  taken  prisoner  and  held 
in  Marion's  hut,  but  she  permits  him  to  escape 
at  the  risk  of  her  own  life.  Marion  is  tried 
by  a  court  martial,  despite  the  efforts  of  Captain 
Bernard  to  shield  her.  Sentence  of  death  is 
on  the  point  of  being  pronounced  against  her, 
when  Sergt.  Le  Balafre  brings  news  of  pardon, 
granted  to  all  concerned. 


788 


Werther 

WERTHER 

Opera  in  four  acts  by  JULES  MASSENET 
The  book  follows  rather  closely  GOETHE'S  famous  story 

In  Act  I  Werther,  a  young  man  of  hyper- 
sensitive disposition,  is  secretly  in  love  with 
Charlotte,  although  the  latter  is  already  be- 
trothed to  Albert,  an  old  and  intimate  friend 
of  his.  Charlotte  on  her  part  has  a  preference 
for  Werther  and  returns  his  feelings,  but  con- 
siders herself  by  honor  bound  to  Albert.  The 
latter  is  not  aware  of  the  true  state  of  affairs, 
and  Charlotte  implores  her  despondent  lover 
to  leave  her  forever. 

When  the  second  act  opens  Albert  and  Char- 
lotte have  been  married  for  three  months,  while 
Werther  is  still  unable  to  hide  his  sentiments. 
He  departs  finally,  in  conformity  with  a  promise 
exacted  from  him  by  Charlotte. 

At  the  opening  of  Act  III  Werther,  finding 
his  exile  unbearable,  returns  and  at  a  chance 
meeting  with  Charlotte  cannot  withhold  a  re- 
newed confession  of  his  passion.  He  contem- 
plates suicide,  as  that  seems  to  him  the  only 
way  out  of  the  dilemma.  Pretending  to  set  out 
on  a  lonely  journey,  he  writes  a  note  to  Albert, 
requesting  the  loan  of  his  pistol.  After  receiv- 
ing the  weapon  Werther  shoots  himself. 

The  last  act  shows  Charlotte  who  has  sus- 

789 


The  Standard  Operaglass 

pected  Werther's  intentions,  and  now  finds  him 
in  a  dying  condition.  This  last  scene  is  perhaps 
the  most  effective,  as  there  is  a  strongly  dra- 
matic clash  between  this  last  melancholy  meet- 
ing of  the  lovers,  the  merry  Christmas  carols 
of  the  children,  and  the  pealing  of  the  bells. 


ZINGARI 

Tragic  Opera  in  two  acts  by  K.  LEONCAVALLO 
Text  by  the  composer 

The  first  performance  of  this  work  occurred 
in  London,  1912. 

The  first  act  is  supposed  to  happen  at  a  gypsy 
camp.  Fleana,  queen  of  the  band,  has  been 
watched,  and  the  fact  has  been  noticed  that 
every  night  she  steals  away  to  meet  her  lover 
outside.  On  one  occasion  several  members  of 
the  band  follow  her,  and  take  the  two  lovers 
captive.  The  stranger  is  not  a  gypsy,  but  he 
makes  a  solemn  declaration  that  he  will  become 
one  and  join  the  band  if  Fleana  is  wedded  to 
him.  The  stranger,  Radir  by  name,  is  pardoned 
and  takes  oath  not  to  have  any  more  dealings 
with  his  own  people.  The  band  is  satisfied  with 
this  arrangement,  but  Tamar,  the  gypsy  poet, 
takes  exception  to  this.  He  protests  vehemently, 
avows  his  passion  for  Fleana,  and  is  by  her  re- 

700 


Zingari 

buked  for  his  presumption.  Radir  wants  to 
fight  Tamar,  but  the  latter  ignores  him  and 
vanishes.  The  wedding  of  Radir  and  Fleana  is 
celebrated  with  great  pomp  and  the  observation 
of  quaint  rites,  while  in  the  distance  may  be 
heard  the  mourning  song  of  Tamar. 

In  the  second  act  Fleana's  love  for  Radir  has 
grown  cold,  although  she  sings  an  exuber- 
ant love  song  in  her  tent.  At  this  Radir  is 
troubled  for  he  realiizes  that  her  affections  have 
swerved  elsewhere.  She  confesses  that  her  love 
for  him  is  dead,  while  her  song  waxes  wilder  and 
wilder.  He  attempts  to  prevent  her  flight,  but 
she  eludes  him  and  goes  to  meet  Tamar,  who 
has  returned  and  whose  jubilant  voice  is  heard 
from  afar.  Together  they  disappear  in  the  lat- 
ter's  tent.  Radir  is  left  without  in  despair, 
brooding  upon  revenge  and  sure  that  Fleana 
has  merely  played  with  him.  In  a  gust  of  fury 
lie  steals  up  to  the  tent  which  houses  the  two 
and  sets  it  on  fire.  Both  Fleana  and  Tamar 
perish  in  the  flames. 


791 


A  A      000137  780    3 


3  1205  01028  7090 


THE  LIBRARY 
UNIVERSITY  OF  CALIFORNIA 

Santa  Barbara 


THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAMPED  BELOW. 

No, 

■ 

■ 

lKPr    JAM 

U^| 

t 

RETD  JAN 

7  1994 

V 

• 

